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the practical guide to jazz

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big band arranging and

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Preface This document was created using the public domain LATEX computer typesetting typese tting program. program. Diagrams Diagrams were created using the LATEX picture environment. Musical examples were created using the Coda Music Technology Finale 2002 music notation notation software. software. Score Score examples were import imported ed into the document as Encapsulated Postscript (EPS) files, using the graphicx package. The navigation links in the Adobe Acrobat Reader file (the   pdf-file) were created created using using the hyperref package from the LATEX distribution. Document history: 1st incomplete version in 2002, updated complete version in January 2005, restyled version in October 2008.

c 2008 F.G.J. Absil, the Netherlands.  URL:  htt  http:/ p://www.fransabs /www.fransabsil.nl il.nl

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Contents 1

In Intr trod oduc ucti tion on

 

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Sectio Sectional nal harmon harmony y iin n 4 parts parts 2.1 Basic rules . . . . . . . . . . . . . . . . . . . . . . 2.2 Lead with chordal tones . . . . . . . . . . . . . . 2.2.1 The danger of repeated notes . . . . . . . 2.2.2 Prevent repeated notes . . . . . . . . . . . 2.3 Harmoni nisi sing ng nonon-chor hordal ton tones . . . . . . . . . . 2.3.1 Dim. and sec.dom. chords . . . . . . . . . 2.3.2 Rhythmic aspects . . . . . . . . . . . . . . 2.3.3 Leading tone chords . . . . . . . . . . . . 2.3.4 Substitute chords . . . . . . . . . . . . . . 2.3.5 Exact parallel chords . . . . . . . . . . . . 2.3.6 Conn onnecti ting ng minor nor 7th chords . . . . . . . 2.3.7 Subdominant chords . . . . . . . . . . . . 2.44 Exte 2. Extens nsio ions ns to four our pa part rt sec secti tion onal al harm harmon ony y. . . . 2.4.1 Sequence of si sim milar str structures . . . . . . . 2.4. 2. 4.22 Sequ Sequen ence cess of di diaatoni tonicc pa para rall llel el str struc uctu turres 2.4.3 The ‘drop 2’ voicing . . . . . . . . . . . . 2.4.4 Repeated notes . . . . . . . . . . . . . . . 2.4.5 Extended and altered dom. chord ords . . . .

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3 3 5 5 5 7 7 8 9 10 12 15 17 19 19 19 20 25 27

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Sectio Sectional nal harmon harmony y iin n 5 parts parts   33 3.1 Extended 4 part sec sectiona onal har harmony . . . . . . . . . . . . . . . . . . . . . . . . .   33 3.2 Sectional harmony in 4ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   37

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Ensemb Ensemble le techni technique quess 4.1 Fundamental aspects . . . . . . . . . . . . . . . 4.2 Four part ensemble technique . . . . . . . . . . 4.2.1 Full big band . . . . . . . . . . . . . . . 4.2.2 Reduced big band . . . . . . . . . . . . 4.2.3 Intermediate size band . . . . . . . . . . 4.2. 4. 2.44 Combi ombini ning ng trom trombo bone ness and and saxo saxoph phon ones es 4.3 Brass voi oiccing for extende nded chord ords . . . . . . . 4.3. 4. 3.11 Domi Domina nant nt seve sevent nth h bit iton onal al vo voic icin ings gs . . .

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44 44 46 47 49 50 52 53 54

Percussive voicing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   55 iii

 

CONTENTS

4.4.1 4.4.2

Examples of brass voicings . . . . . . . . . . . . . . . . . . . . . . . . .   56 Examples of ensem semble voi oiccings ngs . . . . . . . . . . . . . . . . . . . . . . .   61

Bibliography Index

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68 69

 

List of Figures 2.1 2.1 2. 2.22 2.3 2.4 2. 2.55 2.6 2. 2.77 2.8 2.9 2.9 2.100 2.1 2.11 2.122 2.1 2.13 2.14 2.15 2.166 2.1 2.17 2.17 2.188 2.1 2.19 2. 2.20 20 2.21

Ex Exam ampl ples es of chor chord d struc structur tures es in 4 part part sect sectio iona nall harm harmon ony y . . . . . . . . . . . .   4 Chor Chorda dall tone toness in lead lead,, stra straig ight htfo forw rwar ard d proc proced edur ure. e. . . . . . . . . . . . . . . . .   6 Chordal Chordal tones tones in lead, lead, application application of secondar secondary y dominant dominant chord chord structur structure. e. . .   7 Non-chorda Non-chordall tones in lead, lead, application application of secondar secondary y dominant dominant chord chord structure. structure.   8 NonNon-ch chor orda dall tone toness in lead lead,, sy sync ncop opat ated ed rhyth hythm. m. . . . . . . . . . . . . . . . . . .   9 Harmonisation Harmonisation of non-chor non-chordal dal tones tones in in the lead using leading leading tone chords. chords. . .   9 Cros Crosss rel elat atio ion n betw betwee een n lo lowe werr an and d uppe upperr voic voice. e. . . . . . . . . . . . . . . . . . .   10 The defini niti tion on of a sub substi stitute chord ord. . . . . . . . . . . . . . . . . . . . . . . . .   11 Harm Harmoni onisat satio ion n of non-c non-chor horda dall tones tones usin using g su subs bsti titu tute te ch chor ords ds . . . . . . . . . .   11 Harmoni Harmonisati sation on of non-cho non-chord rdal al tones tones using using substi substitute tute chord chords. s. . . . . . . . . . .   13 Harmonisation Harmonisation of non-chor non-chordal dal tones in in the lead using using exact exact parallel parallel chords. chords. .   14 Harmoni Harmonisati sation on of of nonnon-cho chord rdal al tones tones usin using g exact exact parall parallel el cchor hords. ds. . . . . . . . .   15 Lead voice voice with with diatonic diatonic 6 − 7  stepwise motion. . . . . . . . . . . . . . . . . .   16 Lead voice voice with with diatonic diatonic 6 − 7  stepwise motion. . . . . . . . . . . . . . . . . .   16 Lead voice with 6 − 7  stepw  stepwise ise motion motion on 3rd 3rd degr degree ee of major major scale. scale. . . . . .   17 Harmoni Harmonisati sation on of non-cho non-chord rdal al tones tones usin using g subd subdomi ominan nantt cchor hords. ds. . . . . . . . .   18 Simi Simila larr chor chord d struc structu ture ress on di diat atoni onicc para parall llel el degr degree ees. s. . . . . . . . . . . . . . .   21 Diagra Diagram m of the ‘drop ‘drop 2’ 2’ proce procedur duree in in four four part part sectio sectional nal harmon harmony y. . . . . . . .   21 Close voicing and ‘drop 2’ voicing. . . . . . . . . . . . . . . . . . . . . . . . . .   22 Chan Changi ging ng fr from om cl clos osee voic voicin ing g to ‘d ‘drrop 2’ voic voicin ing. g. . . . . . . . . . . . . . . . . .   24 Open voicing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   25

2.22 2.23 2.24 2.25 2.26 2.27

Rep Repeated note otes in the the lead voice. . . . . . . . . . . . . . . . . . . . . . . . . Rep Repeated note otes at the end of a phrase. se. . . . . . . . . . . . . . . . . . . . . . Harmonisation Harmonisation of non-chorda non-chordall tones using altered altered dominant dominant chords. chords. . . . Harmonisation Harmonisation of non-chorda non-chordall tones using altered altered dominant dominant chords. chords. . . . Harmonisation of non-chordal tones. . . . . . . . . . . . . . . . . . . . . . . Harmonisation of non-chordal tones. . . . . . . . . . . . . . . . . . . . . . .

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3.1 3.2 3.2 3.3 3.3 3. 3.44 3.55 3. 3.66 3. 3.7 3.7

Section Sectional al harmony harmony in five parts, parts, lead lead doubled doubled an octave octave below below.. . Sect Sectio iona nall harmon harmony y in five five part parts, s, mixe mixed d voic voicin ing, g, ‘dro ‘drop p 2’. 2’. . . . . Sect Sectio iona nall harmon harmony y in in five five part parts, s, open open voic voicin ing, g, ‘dro ‘drop p 2 and 4’. 4’. . . Sect Se ctio iona nall ha harm rmon ony y in five five part parts, s, al alte tern rnat atin ing g voic voicin ing. g. . . . . . . . Se Secction tional al har harmony mony in 5 pa parrts, ts, ch chor ords ds in 4t 4ths hs . . . . . . . . . . . . Se Secction tional al har harmony mony in 5 pa parrts, ts, ch chor ords ds in 4t 4ths hs . . . . . . . . . . . . Sect Sectio iona nall harmon harmony y in 5 pa part rts, s, chor chords ds in 4th 4ths, s, cl close ose voic voicin ing g . . .

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34 35 36 36 37 39 40

3.8 3.8

Sect Sectio iona nall harmon harmony y in 5 pa part rts, s, chor chords ds in 4th 4ths, s, le lead adin ing g tone tone . . . . . . . . . . . .   40 v

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LIST OF FIGURES

3.9 3.9 Sect Sectio iona nall harmon harmony y in 5 pa part rts, s, mixe mixed d chor chords ds st stru ruct ctur ures es . . . . . . . . . . . . . .   42 3.100 Section 3.1 Sectional al harmo harmony ny in 5 parts, parts, maxi maximis mising ing the the harm harmonis onisati ation on in 4ths 4ths . . . . . .   43 4.1 4.1 4.2 4.2

Exam Exampl plee of ense ensem mbl blee voici oicing ng di diag agrram. am. . . . . . . . . . . . . . . . . . . . . . . .   45 St Star arti ting ng the ensem ensembl blee voic voicin ing: g: sect sectio iona nall harm harmon ony y iin n fou fourr part parts. s. . . . . . . . .   46

4.33 Se 4. Secction tional al har harmony mony ap appl pliied to ful ulll big band. and. . . . . . . . . . . . . . . . . . . . . 4.4 Voicing diagram full big band. . . . . . . . . . . . . . . . . . . . . . . . . . . . 4. 4.55 Se Sect ctio iona nall ha harm rmon ony y ap appl plie ied d to reduc educed ed bi big g band band.. . . . . . . . . . . . . . . . . . 4.6 Voic oicing diagr graam reduced big band. . . . . . . . . . . . . . . . . . . . . . . . . . 4. 4.77 Se Sect ctio iona nall ha harm rmon ony y ap appl plie ied d to in inte term rmed edia iate te si size ze band band.. . . . . . . . . . . . . . . 4.8 Voic oicing diagr graam reduced big band. . . . . . . . . . . . . . . . . . . . . . . . . . 4.9 4.9 Sect Sectio iona nall harmon harmony y appl applie ied d to tromb trombone oness and and saxop saxophon hones es.. . . . . . . . . . . . 4.10 Voicing diagram trombones and saxophones. . . . . . . . . . . . . . . . . . . . 4.111 Brass 4.1 Brass sect section ion voicin voicings. gs. (a): (a): intern internal al bala balance nce,, (b): (b): variou variouss chor chord d types types . . . . . 4.12 Dominant Dominant 7th chord chord S 7  bitonal voicings . . . . . . . . . . . . . . . . . . . . . . 4.13 Percussive voicing for brass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.144 Percus 4.1 Percussiv sivee voic voicing ing for brass brass using using bitonal bitonal tri triads ads in the the trumpe trumpets. ts. . . . . . . . . 4.155 Percus 4.1 Percussiv sivee voic voicing ing for brass brass using using bitonal bitonal tri triads ads in the the trumpe trumpets. ts. . . . . . . . . 4.16 Rhythmic background for brass . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.17 Percussive voicing for big band tutti. . . . . . . . . . . . . . . . . . . . . . . . . 4.18 Percussive voicing for big band tutti. . . . . . . . . . . . . . . . . . . . . . . . . 4.19 Saxophone one voi oiccing in big band tutti ti.. . . . . . . . . . . . . . . . . . . . . . . . . 4.20 Percussive voicing for big band tutti. . . . . . . . . . . . . . . . . . . . . . . . . 4.21 Percussive voicing for big band tutti. . . . . . . . . . . . . . . . . . . . . . . . . 4.22 4.22 Bi Biton tonal al ensem ensembl blee voic voicin ing g for for in inter terme medi diat atee si size ze bi big g ban band d. . . . . . . . . . . . .

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48 49 50 51 51 52 52 53 54 55 56 57 58 59 61 63 63 64 65 66

 

List of Tables 2.1 Basic Basic chord chord struct structur ures es S   in four part sectional voicing. . . . . . . . . . . . . . .   4 2.22 Basi 2. Basicc rul ules es for for four our pa part rt sec secti tion onal al har harmony mony.. . . . . . . . . . . . . . . . . . . . .   5 2. 2.33 Ex Exte tens nsio ions ns an and d al alte tera rati tion onss of the the domi domina nant nt chor chord. d. . . . . . . . . . . . . . . . .   28 4.1 4.2

Chec hecklist out outer voices in big band. . . . . . . . . . . . . . . . . . . . . . . . . .   45 Alternatives for bitona onal voicing. . . . . . . . . . . . . . . . . . . . . . . . . . . .   57

vii

 

LIST OF TABLES

viii

 

Chapter 1

Introduction

Why write a book about jazz arranging techniques? Well, Well, this practical guide to arranging in the jazz the  jazz big band style is style  is the result of studying scores, writing arrangements and of teaching experience. Although a number of books on this subject exist (see the Reference list at the end of this manual), students still keep asking for many brief examples and exercises as part of an arranging arranging course. These must gradually gradually become more complex complex and introduce introduce them with alternative alternative techniques techniques of arranging. Also, I have found that students students appreciate appreciate the detailed discussion of the examples. Ther Th eref efor ore, e, th this is manu manual al cons consist istss of a gr grea eatt numbe numberr of exam exampl ples, es, that that have have be been en cate categor goris ised ed in a number of chapters. Within each chapter the sections will introduce new aspects and in general discuss more complicated examples. This practical guide will concentrate on a number of  voicing as  sectional   ⇐=   voicing techniques, techniques, such as sectional harmony and harmony  and percussive  percussive voicing. voicing. The detailed detailed discussion discussion of these these techniques techniques is meant meant to help the student master master the basics of jazz arrang arranging ing for big band. Following Following the instructions instructions in the text will not lead to a personal style or an advanced voicing of a phrase; the material presented herein is standard practice with a guaranteed result that will sound acceptable and be playable by living musicians (as opposed to computers). The examples are presented in a common, standardised format. there is a definition of the problem the problem.. Why are we presenting the example? What is •   First there the problem that has to be solved? the   basic harmony   are are given. given. These These are are shown •   In many examples the  lead voice  and the  in figures (a system of staves) that accompany accompany each exampl example. e. Usually Usually each voice is printed on a separate staff. The basic harmony is written in shorthand on the lowest staff, labeled H , with either a basic bass line or with slash (rhythm) notation. the  harmonisation (this  (this holds in particular for the chapters on sectional •  The details of the harmonisation harmony) harmon y) are shown below the lead voice. voice. This voice also contains marked numbers numbers (e.g., [*1]) that refer to items discussed in the text. 1

 

CHAPTER CHAPT ER 1 1.. INTR INTRODUCT ODUCTION ION

in particular voicing particular voicing aspects.  aspects. Sometimes •   Each example is discussed in detail in the text, in a number of alternative solutions to the problem is presented. The text between the examples is the general introduction to the various techniques. Fundamental aspects and general rules (tricks) are discussed here. Important terminology is in the margin. The manual also provides an slanted.. and may be marked by an arrow in =⇒ printed slanted  for easy reference that contains most of the terminology; references in the index point index for index to either the definition or the application of the items. Important information is also shown in tables in tables and  and diagrams  diagrams.. At the beginning of the manual there is a list of tables and figures, also for easy reference. This book is not is not about  about instrumentation or the theory of harmony. A great many excellent  books on those subjects are in print and should be studied by the student arranger parallel to this manual. For alternative alternative discussions discussions of voicing voicing aspects, aspects, see [2, [2, 3,  4, 10, 11, 13 13]. ]. The bib bibliogra liography phy provides prov ides also also a list of books books on jazz arranging arranging (see (see [2, 4, 4, 6, 88,, 10  10,, 12  12,, 16  16]), ]), instrumentation and orchestrati orch estration on in general general (see [1, 7, 5]) 5]) and composi compositio tion n or musical musical style style (see (see [18, 9, 18, 9, 14  14,, 15, 17] 17]), ), that I find most useful. I hope that this practical guide provides a most useful tool for the student of jazz arranging or the interested reader in that subject.

2

 

Chapter 2

Sectional harmony in four parts

Sectional harmony in four parts Sectional parts is one of the basic techniques techniques in the field of arranging arranging (see [2] 2],, pp. 29–35, [12 [12], ], Ch. 10, [13 [13], ], p. 451). It may be characterised as a mixture of traditional functional harmony with (impressionist) modal harmony. harmony. The problem is that of harmonising a given  lead voice over voice  over a given basic harmony for   ⇐= a total of four voices; we have to find the three lower voi voices. ces. The lead voice may consist consist of chordal tones, non-chordal non-chordal tones and non-diatonic non-diatonic tones. We will study the technique technique (alternatively described as the bag of tricks) that enables you to harmonise the lead voice, especially for the latter two categories (non-chordal and non-diatonic tones in the lead) and make sure the end resu result lt makes sense in harmon harmonic ic terms and is playable from a musician’s musician’s point of view. Sectional harmony for more than four parts and some forms of ensemble technique often only come down to a doubl doubling ing of voices from a given basic four part harmonisation. harmonisation. This chapter will show you the technique of harmonising a given lead in four parts.

2. 2.1 1

Basi Basicc rule ruless

In writing four part sectional harmony there is a basic set of rules that we will follow: Start with the given given lead voice and find the three three lower lower •   Use a top-down method.   Start voices.. As an arrange voices arrangerr you will usually usually compose compose the lead lead voice voice first and then harharmonise that leading leading part. In our exercises exercises the lead voice will be given. Do not modify the lead voice unless you find its harmonisation impossible. •   Use four part harmony.  Most chord structures in jazz and popular music have four

parts or more. Table 2.1 Table 2.1 summarises  summarises the types of four part chord structures that will be used used in the four four part part sect sectio iona nall tech techni niqu quee (rem (remem embe berr that that the symbo symboll S  indica   indicates tes a chord chord structure): Figure 2.1 Figure 2.1 gives  gives an example of each of these types. For the moment we will 3

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

Table 2.1: Basic chord structures  S  in   in four part sectional voicing. Structur Struct uree S 6  

6 S m +7 S m S m7 S 7 S ∅7 S ◦7

Descri Descript ption ion the major triad with added 6th (note: the 6 does not indicate the inversion of the triad,  but the 6 ajout ee) e´ e) the minor triad with added major 6th the minor triad with added major 7th the minor 7th chord the dominant 7th chord the half-diminished 7th chord the diminished 7th chord

           

&c w C6

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C m6 m6

+7 Cm

w

Cm7

w

C7

ø w

C 7

o w

C 7

Figure 2.1: Example Figure Example of the chord structures structures used in four part sectional harmony (Root C, root positions, close voicing).

forget about extensions (higher numbers than the 7th) of the basic chord structures. We will come back to that later. •  Use close voicing.   The basic four part technique uses close voicing only when the

range of all voices has to stay within the interval of an octave; the outer voices will in that case form the interval of either the 6th (imperfect consonant) or the 7th (mild dissonant). dissona nt). We We will also discuss discuss the so-called so-called drop ique, which, strictly speaking speaking  drop 2-techn 2-technique, is not close voicing, but is easily obtained from a close voicing harmonisation. •  All parts use parallel motion.  This means that the lower three voices exactly follow

the motion of the leading voice. This is contrary to ‘classical’ ‘classical’ harmony where ‘good’ ‘good’ voice leading obliges you to use preparation and resolution of dissonant tones (the 7ths, for example). Here this is of no concern.

•  Prevent repeated notes in any part.  You will find the four part sectional technique

usually in medium usually medium to up-tempo up-tempo pieces. Noteworthy Noteworthy examples examples are the ‘Four the  ‘Four Brothers’ (Woody Herman big band) and the ‘Supersax the  ‘Supersax plays Bird’  (using a 5 part saxophone section) sectio n) recordi recordings. ngs. From a musician’s musician’s point of view view it is better to avoid repeated repeated notes in any any part part (u (unl nles esss they they are are in the le lead ad voic voice) e);; this this makes makes pl play ayin ing g easi easier er.. Harm Harmon onisa isati tion on therefore must be such, that no repeated notes will occur. The list of basic rules is summarised in Table  Table   2.2. 2.2. Now we wil willl discuss discuss a number number of  exercises and examples that will gradually introduce and discuss problems of increasing comple com plexit xity y. We will will ill illust ustrat ratee the variou variouss techni techniques ques for writin writing g four four part part sectio sectional nal harmony harmony.. 4

 

2.2. LEAD WIT WITH H CHORD CHORDAL AL TONES TONES

Table 2.2: Basic rules for four part sectional harmony. Basic rules Work in a top-down order Use four part harmony Start with close voicing All parts move in parallel Prevent repeated notes in any part

2.2 Harmonisin Harmonising g a lead consisting consisting of chord chordal al tones tones only We will start with the situation where the given lead consists consists of chordal chordal tones only (see the  basic harmony on the lower staff of o f the example and check).

2.2.1 The dang danger er of repea repeated ted note notess Figure 2.2 Figure  2.2 shows  shows what happens happens when the basic rules from the previous previous section are applied in a straightforward manner. Example 2.1: Chordal tones in the lead voice, straightforward procedure. Problem: Lead voice P1 consists of chordal tones only. Discussion:

harmonised using the added added 6th chord chord type. Note •  The tonic triad  C  in m. 1 is harmonised thatt foll tha follow owin ing g the the le lead ad we pass pass thro throug ugh h th thee vari variou ouss in inve versi rsions ons of the basic basic chor chord. d. •  On several occasions we may see the interval of a major 2nd between the upper

two voices. voices. This This is no problem problem unless unless we are in a high ra range, nge, for a specific specific instrumentat instru mentation. ion. Try to avoid minor 2nds between the upper voices, since this dissonant is too harsh. example shows two cases of repeated notes: notes: m. 2, 3rd beat in P2 at [*1] and •   The example m. 3, 1st beat in P3 at [*2]. These have to be eliminated! ⊳

2.2.2 Preve Prevent nt rep repeated eated note notess using secon secondary dary d domina ominants nts The repeated notes can be eliminated using secondary using  secondary dominant chor d structures. structures. This is a   ⇐= dominant  chord simple procedure and is obvious from a functional harmony point of view. view. The procedure is summarised as follows: •  Work backwards from the goal.   This means that there is a ‘final’ chord, an  aiming

chord,, that we are working towards. chord towards. In the example example in Figure 2.3 Figure 2.3  these are beat 3 in m. 2 and beat 1 in m. 3; 5

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

&c œ œ œ œ œ œ œ œ œ œ œ œ œ & cc œ œ œ œ œ œ œ œ œ œ œ œ & œœœœœœœœ œ œœ ?c œ œ œ œ œ œ œ œ œ œ œ œ ?c œ œ œ œ œ œ 2

1

P1

P2

œ œœ ˙

Ó

œ œœ ˙ œ œœ ˙ œ œœ ˙

ÓÓ Ó Ó

3

[*1]

P3

P4

C6

H

D m7

[*2]

œ œ ˙ G7

C6

Figure 2.2: Chordal tones in lead, straightforward procedure.

•  Apply the secondary dominant chord structure to the penultimate note.  If the last

note before the aiming chord in the given lead is a chordal note in the secondary dominant chord structure, structure, then our proble problem m is solved. solved. What is the secondary secondary dominant dominant −9  ♭9) on the root a 5th structure? It is the S 7   (the dominant 7th chord with lowered 9, or ♭9 above the root of the aiming chord (the V /V  in classical notation), with the root omitted. This is equivalent to the  S ◦7  a minor 2nd below the root of the aiming chord and we end up with a strong chord progression (thinking in terms of functional harmony). Let’s see how this works out in our example. Chordal dal tones in the lead voice, application application of seconda secondary ry dominant dominant Example 2.2: Chor chord structure. Problem: Lead voice P1 consists of chordal tones only. Discussion: •  In m. 2, 3rd beat [*1] the aiming chord is  G 7 . therefore the secondary dominant

its equival equivalent ent F ♯◦7 . The latter is used for the harmonisation, which is is  D 7−9  or its possible since the note  a  in the lead is a chordal component in this structure.

9 •  In m. 3, 1st beat [*2] the aiming chord is  C . It secondary dominant is  G − 7   or its

equivalent B♯ Application of the latter is allowed, since since the note  d  in the lead  B ♯◦7 . Application is a chordal chordal component of the diminished diminished structure. structure. Notice how the repeated repeated notes in the inner parts have now been eliminated. ⊳

Using secondary dominant chords will result result in a chromatic downward stepwise motion in (in (in particul particular) ar) the the lower voices. voices. This will become become more characteri characteristic stic as as more more intermediat intermediatee dominants are chained in succession as we will see later. 6

 

2.3. HARMONISING NON-CHORDAL TONES

&c œ c && c œ œ ?c œ ?c Û 1

P1

P2

P3

P4

C6

H

œœœœœœœ œœœœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœœœ œœ œ œ  o Û Û Û Û ÛÛ 2

œ œœ ˙ œ œ œ œ ˙˙ œ œ œ œœ ˙ o Û ÛÛ | 3

[*1]

D m7

F

7 G7

[*2]

B 7

C6

Ó Ó Ó Ó Ó

Figure 2.3: Chordal tones in lead, application of secondary dominant chord structure.

2.3 Harmonisin Harmonising g non-chor non-chordal dal tones The example from the previous section will now be modified slightly in such a way that the lead contains non-chordal contains  non-chordal tones. Note, however however,, that the the lead lead still still is compl complete etely ly diadia-   ⇐= tones. Note, tonic. There There are only notes from the  C -major scale, which is the scale that is implied by the I   −   I I m7   −   V 7   −   I  cadence  cadence in the given harmony. The marked notes are the non-chordal tones that have to be harmonised with a different chord structure. the only solution we have seen so far is the use of secondary dominants and that is what we will apply here.

2.3.1 Use o off dimi diminishe nished d cho chords rds an and d seco secondary ndary domi dominants nants Non-chorda hordall tones in the lead voice, applicati application on of secondary domina dominant nt Example Exampl e 2.3: Non-c chord structure. Figure 2.4). ). Problem: Lead voice P1 contains non-chordal tones (see Figure 2.4 Discussion: •  At [*1] the non-chordal tones  b  and  d  (in fact the  ∆7  and the 9th of the extended

C 6  chord respectively; we will consider them now as non-chordal since they do not belong to the  S 7) may be harmonised using the diminished the  diminished chord  B ◦7 , which has a secondary dominant function relative to  C . Note tthat hat we may may find two non-chordal tones in sequence, where the resolution towards a chordal tone occurs after the second non-chordal tone;

[*2] 2] the non-c non-chor horda dall tones tones g and e are are harmoni harmonised sed using using the C ♯◦7 ch  chord, ord, which •   At [* as a secondary dominant function relative to the  Dm7  chord. •  At [*3] we choose an alternative solution. The  a is the non-chordal tone in the G7

(since, again, we consider four part chord structures as the starting point), that  chord.. There There is a difference difference with might have been harmonised using the  F ♯◦7  chord 7

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

&c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó o o  o  o 1

P1

[*1]

B 7

P2

P3

P4

H

& cc & ?c ?c

[*1]

B 7

œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

C6

2

C

[*2]

7

[*2]

C

[*3]

3

7

œ œ œ œ œ œœ œ ˙ ÓÓ œœœœœ œ ˙ œœœœœ œœ ˙ Ó b œ œ œ œ ˙ Ó

D m7

D m7/G G 7

9

C6

Figure 2.4: Non-chordal tones in lead, application of secondary dominant chord structure.

the previo previous us two acases, however: whereas where as the non-ch ordall tones stepwise stepwis e towards chordal tone (here is the list, other checknon-chorda for yourself: [m. 1]:move  b ր c, b ր d ց c, [m. 2] g ց f, e ր f ), now we find a leap (m. 2, beat 4)  a ր d. Using a diminished chord here has a much weaker effect than in the case of stepwise motion. Therefore, we now choose to extend the  Dm7  chord unto the 3rd beat of  4 that measure. his leads to a suspended Gsus or,, equivalently, equivalently, a  Dm7 /G, 7   chord, or which sounds as a richer dominant structure than the plain   G7 . Note Note that that on on  beat 4 the lead is harmonised using us ing  B◦7 , since we work towards the  C  chord in 9 were the next measure. This is equivalent to the  G− 7   structure and although we were not to consider extended chord structures beyond four parts, here we have one! This is no problem, it simply sounds better (has (has a stronger stronger dominant dominant effect, effect, since there is an extra leading tone  a♭ , see the next section) than the plain dominant 7th structure. ⊳

2.3.2 Rhyt Rhythmic hmic aspe aspects: cts: the use of sync syncopat opations ions We will apply a further further modification modification to our simple example. example. Although Although the 8th notes in this example are to be played using ‘swing’ using ‘swing’-feeling, -feeling, they make a very regular rhythmic sequence. This weakens the ‘jazzy’ effect effect of the music. We will improve the rhythm by introducing introducing shown in Figure Figure 2.5. =⇒ syncopations syncopations,, as shown Example 2.4: Non-chordal tones in the lead voice, syncopated rhythm. Problem: Lead voice P1 contains non-chordal tones and syncopated rhythm. Discussion:

[*1] we find syncopa syncopation tions. s. These These have to be harmonise harmonised d consid consideri ering ng the •  At [*1] chord structure on the following regular beat, e.g., the penultimate note, the 8

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

voices in the first chord move by the same distance towards the second chord, which, as you may remember, is our aiming our  aiming chord. chord. The distance distance of motion is either a minor or a major 2nd up or down. This is indicated indicated as chromatic minor second (the smallest i ր and i ց or as 2  2ii ր and 2  2ii ց, where i is the step of chromatic unit in the chromatic 12 tone system). The effect of the leading tone chord is stronger using minor 2nds compared to the major seconds. It is used more frequently moving upward than downward. Let us now discuss the example shown in Figure 2.6. Figure  2.6. Harmon monisa isation tion of nonnon-cho chord rdal al tone toness in the lead usi using ng lea leadin ding g tone Example 2.5: Har chords. Problem: Lead voice P1 contains non-chordal and non-diatonic tones. Discussion: •  At [*1] we harmonise the upbeat tone into the  C  chord of m. 2. We find in the dimin minish ished ed upbeat measure the sequence  G 7   −   F ♯◦7   −   B◦7   −   C . The two di

chords form a chain of secondary dominants. •  M. 2 and m. 4 [*2] use the standard secondary dominant technique for the har-

monisation of the non-chordal tones. [*3] we appl apply y the le lead adin ing g tone tone ch chor ord d techni technique que.. The The aimi aiming ng ch chor ord d twice twice is •  In m. 3 [*3] th C 6 chord, which which is enharmonical enharmonically ly equivalent equivalent to the Am7 chord. Exact parallel motion (upward minor 2nd step) therefore yields the   G♯ m7  structure as the preceding chord. encounter another aspect that requires requires consideration consideration.. We •   In m. 5 beat 3 [*4] we encounter have the sequence sequence e♭   −   g  in the lead (the 7th and th 9th of the  F 7  chord). Now structur uree (again (again,, thi thiss would would be suppo sup pose se we harm harmon onis isee the the first first note note with with the the F 7−9  struct a small diversion from our basic rules) or its equivalent  A◦7 , as shown in Figure 2.7.. If we harmonise the second note with a pure  F 79 , or its equivalent  A∅7  then 2.7 we find a cross a  cross relation between relation  between the lower and upper part: there is a minor 9th  between the f ♯ and and the the g tha  thatt will will sou sound nd ha hars rsh. h. Try Try to prev preven entt th this is and and use use a now sus 4 familiar trick: use the  F 7   or its equivalent  C m7 /F  on beat 3 of that measure. Save the real dominant structure  A◦7  until the last beat.

⊳

b œœ & F7 9

Figure 2.7: Cross relation between lower and upper voice.

2.3.4 Use of subst substitute itute chord chordss The problem problem we encounter encountered ed in m. 3 of Figure Figure 2.6 can  2.6 can also be solved in another way through through  substitute chords. chords. =⇒ the use of  substitute 10

 

2.3. HARMONISING NON-CHORDAL TONES

±˙ ˙ & C

9

E m7

Figure 2.8: The definition of a substitute chord.

P1

P2

P3

P4

H

&c &c &c &c ?c

1

‰œ œ œ œ œ œ œ œ œ œ Œ ‰œ œ œ œ œ œ œ œ œ œ Œ ‰œ œ œ œ œ œ œ œ œ œ Œ ‰œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ 2

 3 3

 3

 3

G7

C

 o

[*1]

D

3

œ œ œ œ œ

 o

[*1]

œ œ œ œ

7 E m7

Œ Œ Œ Œ œ

D

œ œ œ œ œ

œ œ œ œ

7 Em7

œœ œœ œœ œœ œ

4

œœœœ œœœœ œœœœ œœœœ œ œ  3

 3 3

 3

Cm7

œ œ œ œ

œ œ œ œ œ

œ œ œ œ

b

[*2]

œ œ œ œ œ

G 7

œ œ œ œ

o œ œ œ œ

[*3] 5

œ œ œ œ œ

F7

œ œ œ œ œ

C m7 B 7

œœœœ œœœœ œœœœ œœœœ œ œ

6

œœŒ œœŒ œœŒ œœŒ ˙b Ó

B

Figure 2.9: Alternative Figure Alternative harmonisatio harmonisation n of non-chorda non-chordall tones in the lead using substitute substitute chords.

Some chords chords can be substituted by a harmonicall harmonically y equivalent equivalent chord. Take for instance the tonic triad with added 6th  C 6 . We may extend this chord with the 9th (see Figure 2.8 Figure  2.8), ), 9 yielding the C ∆7. This chord is equivalent to  E m7  if we consider the upper four functions of  the original chord only. Harmonising m. 3 of Figure 2.6 Figure  2.6 using  using this substitute chord, we also obtain another option for the non-diatonic notes in the lead, as shown in Figure 2.9. Figure  2.9.   Now we can use the secondary dominant chords relative to the substitute chord, as shown in the example. Exampl e 2.6: Harmonisation Harmonisation of non-c non-chorda hordall tones in the lead using substit substitute ute chor chords. ds. Example Problem: Lead voice P1 contains non-chordal and non-diatonic tones. Discussion: •  At [*1] we harmonise the non-diatonic tones  d♯  and  f ♯ with the secondary dom-

inant structure  D♯ ◦7  relative to the aiming chord  E m7 , which is a substitute for the C 6 . [*2] 2] we use use the the domi domina nant nt G♭7 , which is equivalent equivalent to C 7♭5/♭  9 , the upper upper leadin leading g •  At [* tone chord towards F 7 . •  At [*3] we harmonise the lead with  C m7 , this is harmonically equivalent to the suspended chord F 79sus4  =  = C   C m7 /F . ⊳ The next problem problem presents another another case of using substitute substitute chords. chords. It is the regularly regularly used substitution of the 2nd degree in minor, the  half-diminished chord (in chord (in this case  E ∅7  in the   ⇐= 11

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

key of   D D -minor), by the lowered 7th degree dominant chord (in this case  C 7  or better C 7♭9  ). Harmonisation of non-c non-chorda hordall tones in the lead using substit substitute ute chor chords. ds. Exampl mple e 2.7: Harmonisation Exa Problem:  Lead voice P1 contains non-chordal tones on 2nd degree in minor key (see Figure 2.10) Figure  2.10).. Discussion:

secondary dominant structure structure D♯ ◦7  to harmonise the •   At [*1] we cannot use the secondary non-chordal tone f . Use of the leading tone chord chord F ∅7  would lead to the lead of  an augmented 2nd  d   −   c♭ in P3 which is undesirable. •  At [*2] application of the plain  E ∅7  leads to repeated notes in both P2 and P3. •  The latter problem can be solved using a sequence of secondary dominants D♯◦7   −   B♭ 7   at [*3], the last chord being equivalent to the altered dominant ♭5/♭9

E 7   . •  The problem in m. 1 is solved using the substitute chord C 7♭9  at the  e  in the lead.

The preceding tone, at [*4], is harmonised using the secondary dominant  B ◦7. However, we still find an augmented second  d   −   c♭ in P3. •  Therefore it is better to use the  E ◦7  substitute right from the beginning. Remem-

 ber that this chord is enharmonically equivalent to  A♭79 . So what we do is anticipate the dominant in m. 2. All non-chordal tones [*5] now can be harmonised using the secondary dominant  B◦7 . •  Note at [*6] the plain  C 7  substitute is used. Compared with the solution at [*2]

this has the advantage advantage of containing more diatonic tones in D-minor descending than using the D♯ ◦7 ; this chord leads to more upwards altered notes in the lower parts. ⊳

2.3.5 Use of exac exactt paral parallel lel chord chordss The next example has a lead voice in  C -minor and consists of diatonic tones only. In minor we have the half-diminished chord on the 2nd degree of the scale. We shall demonstrate two solutions to the harmonisation problem for non-chordal tones from this 2nd degree degree chord. The first solution is based on the use of a substitute chor chord. d. The use exact parallel chords, =⇒ 2nd solution will use exact chords, which is the new technique here. Harmonisation isation of non-chorda non-chordall tones in the lead using exact parallel parallel Example 2.8: Harmon chords. Problem: Lead voice P1 contains non-chordal tones (see Figure 2.11 Figure 2.11). ). Discussion: •  At [*1] we harmonise the non-chordal tones with the standard technique of a single secondary secondary dominant dominant (B◦7 − C m7 in m. 2, F ♯◦7 − G7 in m. 3) or a sequence

of two secondary dominants (F ♯◦7   −   B◦7   −   C m7  in m. 4. 12

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

non-chordall tone in the half-dimi half-diminished nished chord chord e♭ is harmonised using •   At [*2] the non-chorda ♭ /♭

the E b7 , or equivalently the  A75   9 , although this solution does not sound ideal. •  Notice that this example contains various syncopations (m. 2, beat 4 and m. 3,

 beat 4). The final 8th note of these syncopated groups is harmonised using the chord on the next downbea chord downbeat. t. This This is the same practise practise that we have have used used on tied-over notes. ⊳

Next, we will discuss two solutions for harmonising the non-chordal notes in m. 3, see Figure 2.12. Figure  2.12. Harmonisation isation of non-chorda non-chordall tones in the lead using exact parallel parallel Example 2.9: Harmon chords. Problem: Lead voice P1 contains non-chordal tones. Discussion: •   At ♭[*1] we harmonise harmonise the non-chordal non-chordal tones  d  and  f  using the substitute chord 9

B♭ 7  , which is not exactly equivalent with the  D◦7  chord (because of its lowered 9th). It, however, however, is equal to the G♭79  chor chord, d, since the four upper functions functions of both chords form the same diminished chord  B ◦7 . What we in fact do here is to pull ahead ahea d the domina dominant nt chor chord d of m. 4 (this (this has has been been discus discussed sed in pre previo vious us exampl examples. es. This might though lead to a clash with the rhythm section in case they play the half-diminished structure (the clash between  b and  c) and probably it is better to correct the chord symbol for the rhythm section in that measure.

•  At [*2] we apply three consecutive exact parallel chords (B∅7   −   C ∅7   −   D∅7 )

working backwards from the aiming chord on the chordal tone  d. Although we now find quite a few non-diatonic tones in this sequence they are no problem, especially at higher tempos. ⊳

& b bb c Ó & b bb c Ó & b bb c Ó & b bb c Ó ? b bb c 1

P1 P2 P3 P4 H

Œ Œ Œ Œ ∑

œœ œœ œœ œœ

2

Œ Œ Œ Œ ’

Cm7

œœœœ o o œœœœ œœœœ œœœœ ’ ’ [*1]

B 7

œœ œœ œœ œœ ’

[*1]

B 7

3

Œ Œ Œ Œ ø ’

D 7

œœœœœœ b  œo œ œœœœ œœœœœœ œœœœœœ ’ ’ ’ [*2]

E 7

[*1]

F

7

4

Œ Œ Œ Œ ’

G7

œœ œ  œo œœ œœ ’ F

œœœœ œ œ  œo œo œœœœ œœœœ ’ ’ [*1]

7

F

7B 7

5

œ œ œ œ Û

Cm

Œ Œ Œ Œ Œ

Ó Ó Ó Ó Ó

Figure 2.11: Harmonisation of non-chordal tones in the lead using exact parallel chords.

14

 

2.3. HARMONISING NON-CHORDAL TONES

P1 P2 P3 P4 H

& bbb b && bbbbb & bbb ? bbb

1

Œ

œœœœœœ o œœ œœ œœ œ œ œœ œ œ œœœœœœ ’ ’ ’ [*1]

D 7

ŒŒ Œ ø ’

D 7

2

Œ œ œœœœœ ø ø œœ œœœ ŒŒ œœ œ œ œ œ œ Œ œ œœœœœ ø ’ ’ ’ ’ [*2]

B 7C 7

D 7

Figure 2.12: Harmonisation of non-chordal tones using exact parallel chords.

2.3.6 Conn Connectin ecting g mino minorr 7th chord chordss In this section we will deal with another problem. Suppose we have a lead voice as shown in the example in Figure 2.13. Figure  2.13.  The non-chordal tones are marked and most of them can be dealt with in the standard standard way of applying the secondary dominant. dominant. There is, however, however, a problem with the step from the 6th to the 7th degree of the major scale (in this case from  g to a  in  B♭ -major). The non-chordal tone  a cannot be harmonised using the  ◦ 7 -chord. Using a leading tone chord we end up with an augmented 2nd step in P2, an undesirable result.   ⇐= Example 2.10: Harmonisation a lead voice with diatonic 6 − 7 stepw  stepwise ise motion motion:: problems using secondary dominant or leading tone chord. Problem: Lead voice P1 contains  6 − 7 stepwise motion in major. Discussion: •  At [*1] the application of the secondary dominant  B◦7  is impossible. •  At [*2] the application of the leading tone chord  B m7  leads to augmented 2nd stepwise motion e♭   −   f ♯ in P2, which is undesirable.

⊳

That technique that we will apply in this case is the sequence of two diatonic minor 7th chords on the 2nd and 3rd degree of the scale (in this case  C m7   −   Dm7 , see Figure 2.14 Figure 2.14). ). Example 2.11: Harmonisation a lead voice with diatonic  6 − 7 stepwise motion: connecting minor 7th chords. Problem: Lead voice P1 contains  6 − 7 stepwise motion in major. Discussion: •  At [*1] we use the secondary dominant  B◦7  chord.

15

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

P1 P2 P3 P4 H

& bb & bb & bb & bb ? bb

1

Ó Ó Ó Ó ’ ’

Cm7

[*1]

œ œ œo œ œœ œ œœ œ œœ œ ’ ’

2

6 - 7

B 7

Ó Ó Ó Ó ’ ’

Cm7

[*2]

œœœœ œœœœ œœœœ œœœœ ’ ’ Bm7

Figure 2.13: Lead voice with diatonic  6 − 7 stepwise motion.

P1 P2 P3 P4 H

& bb bb && bb & bb ? bb

1

Ó Ó Ó Ó ’ ’

Cm7

œo œ œ œ Ó Ó œ œ œ œœ Ó œœœ Ó œ œ œ œ ’ ’ ’ ’ [*1]

B 7

[*2]

2

D m7

Cm7

œ œ œ bœ±

[*3]

E

œœ œœ œœ ’

7

œ œœ œ œœ ’

Figure 2.14: Lead voice with diatonic  6 − 7 stepwise motion.

16

 

2.3. HARMONISING NON-CHORDAL TONES

P1 P2 P3 P4 H

& bb b & bbb & & bb ? bb

œœœ  o C

œœ œœ œœ ’

Dm7

7

œ œ œ ’

œœœ  o 3 - 4

7 - 8

1

2

F

œ œœ œ œœ ’

Gm7

7

œœ œ ’

Figure 2.15: Lead voice with 6 − 7 stepwise motion on 3rd degree of major scale.

•  At [*2] we apply the minor 7th chord on the 3rd degree of the major scale  D m7

to harmonise the non-chordal tone  a.

9  E ♭∆7 , which is equivalent to the C m •  At [*3] we have to use the substitute chord  E♭ 7

in order to prevent prevent a repeated repeated note in P4 which would have occur occurred red using the plain C m7  chord (as shown in m. 1). ⊳

The  6 − 7  diatonic step (which is equivalent to the  5 − 6  motion within the 2nd degree minor 7th chord structure) is the only diatonic step in major that requires this solution. The two other cases (5 − 6  on the 3rd and 6th degree of major, as shown in Figure 2.15 Figure  2.15)) yield a minor 2nd stepwise motion in the lead that can be dealt with using secondary dominant chords. stepwise se motion Example Exampl e 2.1 2.12 2: Harmonisation a lead voice with diatonic  7 − 8 or 3 − 4 stepwi over minor 7th chord on 3rd degree or 6th degree respectively. Problem: Lead voice P1 contains diatonic stepwise motion over minor 7th chord. Discussion:

dominant C ♯◦7  to harmonise the non-chordal tone •   At [*1] we use the secondary dominant b♭ (on 3rd degree minor 7th chord in  B♭  B ♭-major).

dominant F ♯◦7  to harmonise the non-chordal tone •   At [*2] we use the secondary dominant e♭ (on 6th degree minor 7th chord in  B♭  B ♭-major). ⊳

2.3.7 Use of subd subdomina ominant nt chord chordss In some cases we may harmonise the non-chordal tone using a type of  subdominant of  subdominant chord. chord. These are the chords that are built on either the relative subdominant degree or the relative   ⇐= supertonic degree of our basic harmony. 17

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

&b œ œ œ œ &b &b &b ?b ’ ’ 1

P1 P2 P3 P4

C7

H

œ œo  œ  œ œ  ’

œ œ œ

œ œ Œ Ó o œ œ Œ Ó œ œ Œ Ó Œ Ó œ’ œ œ’ ’ ’ ’ [*1]

2

E 7 Dm7 E 7

F

(a)

& b œ œ œ œ œ œ œo &b  œœ &b  œœ

[*2]

1

P1

œ œ Œ Ó o œ œ Œ Ó œ œ Œ Ó 2

C 7E 7

P2 P3 P4

&? bb ’ ’  ’ œ ’œ œ œ’ ’Œ ’Ó ’ C7

H

F

(b) Figure 2.16: Harmonisation of non-chordal tones using subdominant chords.

18

 

2.4. EXTENSIONS T TO O FOUR PART PART SECTIONAL HARMONY

The example in Figure 2.16 Figure 2.16 is  is in  F -major and the basic harmony locally is  C 7. Therefore the subdominant structures are built on either the root tones  f  (the   (the subdominant relative to c) or the d  (the supertonic relative to  c). Using the diatonic diatonic chords chords on these degrees degrees we find the F 6  on the 4th degree and the  Dm7  C  on the 2nd degree of  these chords in areother harmonically However, there is another possibility that-major; has been described books on equivalent. arranging as the ‘diminished chord d may be chord on the root in question’(see [11 [ 11], ], p. 31): in our example example this is  C ◦7 . This chor designated as a subdominant structure by the following deduction process: the pitches in the C ◦7 chord are c − d♯ − f ♯ − a, though using enharmonic changes and considering  d♯ =  d♯  = e♭  e♭ ♭ 9 structure on the supertonic) or or,, considering f ♯  =  = g♭  g♭ we find the D7   (altered dominant chord structure ♭ 9 we find the F 7   (the altered dominant chord structure structure on the subdominant). Now, Now, let’s see how this applies to our example. Example 2.13: Harmonisation of non-chordal tones using subdominant chords. Problem: Lead voice P1 contains non-chordal and non-diatonic tones. Discussion: •  Because the lead contains the altered non-diatonic note  d♭  which we will har-

monise using the C 7♭9  chord we have to do something to prevent prevent repeated notes in the lower voices, voices, when harmonising harmonising the following following c . Well, at [*1] we use the  = F   F 6  as an intermediary chord. diatonic subdominant structure Dm7  = •   The same situation can also be harmonised using the altered subdominant struc-

ture C ◦7  = [*2]. ].  = D  D7♭9  =  F 7♭9  , as is shown at [*2 ⊳

Although at that time they were designated as substitute chords (see the appropriate section), we have already encountered one case where we used the diminished chord on the original root for the harmonisation process, which we here designate as a type of subdominant. That case was the substitute for the half-diminished chord on the 2nd degree in minor. There we followed a different path of reasoning. The result of the harmonisation process is the same, applying either a substitute chord or a subdominant chord.

2.4 Extension Extensionss to th the e technique technique of writing writing four four part part section sectional al harharmony 2.4.1 Sequ Sequences ences of simi similar lar stru structure cturess on pa parallel rallel diato diatonic nic deg degrees rees In this section we will discuss various other aspects of writing four part sectional harmony. First we will deal with the technique of using diatonic parallel structures. Then we will discuss the ‘drop 2’-voicing in four part sectional harmony. Also we will discuss the occurrence op repeated notes and the use of altered dominant structures.

2.4.2 Sequ Sequences ences of d diaton iatonic ic pa parallel rallel struct structures ures We have already encountered one situation where we used diatonic used diatonic parallel structures. structures. There we considered the   6 − 7   stepwise stepwise motion motion in major. major. This form of parallel parallel motion may be   ⇐= 19

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

applied to a sequence of degrees. However, then we encounter a problem. Let us start by formulating the general idea behind this technique. It is used mainly with minor 7th chord structures as the underlying basic harmony. It creates a modal atmosphere. The rules for this techniques may be summarised as follows: •   Start from a given voicing and continue using similar chord structures within a given diatonic scale. This means that at the starting point the voicing (root position or inversion, close vs. open voicing) is given. •  Construct the sequence of chords, using diatonic structures, in parallel motion with

the lead. If the lead moves upward, the diatonic root of the chord moves upward by the same interval. •  Eliminate resulting tritones. The process, described in the previous step, may yield a

tritone interval (augmented 4th or diminished 5th) between any two voices. The result therefore has the character of a dominant chord; this implies a tendency for resolution (in functional harmony), disturbing the parallel motion and the modal atmosphere. The problem is solved by introducing extra leading tones in such a way that we get a sequence of minor or major 7th chords (S m7  or  S ∆7). In order to eliminate the tritone we may either raise or lower one of the lower voices. The direction of the change is dependent on the interval structure of the previous chord; this may contain a 4th or 5th. Do not change the lead voice when this forms part of the tritone interval. interv al. There There is a preferen preference ce for raising the lower voice when there is upwar upward d parallel motion and lowering lowering the voice when the lead is in downward motion. Let us illustrate illustrate this with an example, as shown in Figure 2.17 Figure  2.17.. Example 2.14: Similar chord structures on diatonic parallel degrees. Problem: Lead voice P1 contains chordal tones only. Discussion:

figuree on the le left ft shows shows the the stric strictl tly y di diat atoni onicc para parall llel el four four part part ha harm rmoni onisat satio ion. n. •   The figur m7 -chor -chord. d. This inversion invtritones ersion isatcopied The initia inifull tiall sequence voicing voicing isof the the 3rd 3rd invers invNote ersion ion of the to the chords. that thisD process yields two [*1].

•  The figure on the right shows the modification of these undesirable intervals.

The first G7  is modified into G∆7  by raising the lowest voice P4 [*2]. The second tri tritone tone at [*3] [*3] iiss part part of a B∅7 cho  chord rd and is change changed d into into a B♭ ∆7 chor  chord d by lowering lowering P3. What we end up with is a sequence of major and minor 7th chords. ⊳

2.4.3 2.4 .3 The ‘dro ‘drop p 2’ vo voici icing ng So far we have strictly strictly adhered adhered to the rule of close voicing. voicing. However However, there is another standard form of four part sectional harmony, that can easily be derived form the close voicing. It is called the drop the  drop 2 voicing and voicing  and it is obtained by transposing the 2nd voice from the top, =⇒ i.e., P2 to the octave below. This is shown in diagram in Figure  2.18.   The next example will illustrate the process (see Figure 2.19 Figure 2.19). ). 20

 

2.4. EXTENSIONS T TO O FOUR PART PART SECTIONAL HARMONY

œ œ œ œ œ œ œ œ & ± ±ø &œœ œœ œ œ œ œ &œœ œœ œ œ œ œ &œœ œœ œ œ œ œ ?’ ’ ’ ’ [*1]

1

P1

Em7 F

P2 P3 P4

[*1]

7 G 7 Am 7 D m 7 C

7 B 7

œ Œ Ó

2

Am7

œ œ œ ’

Dm7

H

(a)

P1 P2 P3 P4 H

& & & & ?

1

œ œ œ œ œ œ œ œ ±œ œ± œ œ œ œ œ œ œ œ œ œ œ œ œ œ ’ ’ ’ [*2]

Em7 F

7 G

7 Am7 Dm7 C

Dm7

Œ Œ Œ ’

Ó Ó Ó ’’

œ œ œ Œ Ó œ± bœ± œ Œ Ó œ œ œ Œ Ó œ œ œ Œ Ó ’ ’’’’ [*3]

7B

7

2

Am7

(b) Figure 2.17: Similar chord structures on diatonic parallel degrees.

P1:

p1

P2:

p2

P3:

p3

P4:

p4

p1

p1   

8ba 



p3

p3



p4

p4



p2’

p2’

Figure 2.18: Diagram of the ‘drop 2’ procedure in four part sectional harmony.

21

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

P1 P2 P3 P4 H

P1 P2 P3 P4 H

&  c & c & c c &? c &  c & c & c ? c ? c

1

Ó Ó Ó Ó ’’

Bm7

1

Ó Ó Ó Ó ’

Bm7

œ  o œ œ

œ  o œ œ

[*1] [*1]

A

7A

7

œœ œœ œœ

’œ œ œ’ œ œœœœ œœœœ œœœœ œœœœ

œ o œ ‰ œ œœ‰œ œœ‰œ [*2]

2

D

7

[*3]

B m7

œ œœ œ œ œ œœ œ œœ [*4]

3

œ’ œ ‰’œ œ’ œ’ œ ’ ’ ’ ’ ∑ œ œ ‰ œ œ œœ œ œ ∑ œœ‰œœ œœ ∑ ‰ œ œ œ œ œœ œœ œœ œœ‰ ∑ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ E7

A

(a)

2

3

E7

A

(b) Figure 2.19: Close voicing and ‘drop 2’ voicing.

22

∑ ∑ ∑ ∑

 

2.4. EXTENSIONS T TO O FOUR PART PART SECTIONAL HARMONY

Example 2.15: Close voicing and ‘drop 2’ voicing. Problem:  Assign the parts for given 4-part sectional harmony: use close voicing and ‘drop 2’ voicing. Discussion: Figure  2.19.aa shows the solution with close voicing. voicing. The non-chordal non-chordal tones in •   Figure 2.19. m. 1 [*1] are harmonised harmonised using the secondary secondary dominant A♯◦7 , the appoggiatura f ♯  in m. 2 [*2] is harmonised using the same principle (in this case with a  D♯ ◦7 chor chord) d).. Beat Beat 3 of m. 2 [*3] [*3] uses uses the   Bm7 /E  structure that we have discussed  before and the penultimate note  b♯  [*4], a non-diatonic note, is harmonised us♯ /♭ ing an altered dominant chord structure  E 75   9 . This note might also have been harmonised using a leading tone chord structure  E♯  E ♯m7 . •  Notice the rhythmic aspects of the example: syncopated and tied-over notes are

harmonised using the chord structure harmonised structure on the next regular beat. Also note the 16th notes in the lead in m. 2; little embellishments like these do not necessarily have to be harmonised, especially at higher tempos. Figure  2.19. b  b demonstrates the ‘drop 2’-voicing. We have transposed P2 one •   Figure 2.19. octave veed, down. tota l cing. range is ll now mor e vals than one octave oct the result resu aocta mixed, mix more more The open opentotal voicin voi g. Still Sti the more interval inter s betwee bet ween n ave the and outer voices voic esltare arise consonant 3rds most of the time, interspersed with occasional 2nds (9ths, to be correct). ⊳

Now, for the first time, Now, time, we have to consider consider iinstru nstrumental mental aspects. aspects. Since the the range of  the section gets wider as we use the drop 2 technique technique we might encounter encounter instrumentation instrumentation problems. The bottom voice may get into a too low region, either for the instrument to play comfortably comfor tably,, or from an acoustic acoustic point of view. view. In the latter case the fundamental fundamental of the applied chord structure is too low. In those cases we might have to change the voicing along the melodic line. The preferred location for a change of the voicing is at a diminished chord, since, due to its internal symmetry (the diminished chord being constructed from minor 3rds) it suffers suffers least from such a change and is least noticeable. noticeable. We illustrate illustrate this with the example in Figure 2.20 Figure 2.20.. Example 2.16: Changing from close voicing to ‘drop 2’ voicing. Problem:  Assign the parts for given 4-part sectional harmony: use a mixed voicing and determine the appropriate point for transition. Discussion: •  Let us first harmonise the non-chordal tones. At [*1] we use a secondary dom-

inant  E♯ extended secondary secondary dominant dominant  E ♯◦7  to harmonise the b. At [*2] we use an extended 9 altered ed seconda secondary ry domidomiF ♯7   =   A♯∅7  to harmonise the   g♯. At [*3] we use an alter ♭5/♭9 nant  D♯ 7   =  A 7  to harmonise the  c♯. At [*4] we use a secondary secondary subdominant subdominant A6   =  F ♯m7  to harmonise harmonise the  a. An alternative alternative solution is either the altered sec♭5/♭9 ondary dominant  D  D♯♯7   or the leading leading tone chord chord  A m7 . Compa Comparing ring the three three alternatives we may say that the currently used   A6  is the most diatonic soludiatonic alternative. alternative. At [*5] we use a tion, the  A m7  would have been the least diatonic 23

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

&  c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó [*1]

[*2]

P1

P2 P3 P4 H

& & ? ?

cœ œ cœ œ œ œ c   c’ F m7

[*4] [*5] [*6]

[*3]

1

2

œœ œœ œœ

œ œ œ

œœ œ œœ œ œ œœ œ œœ œ œ œœ œ œœ œ œ   ’ ’ ’ ’ ’ B7

G m7

3

œ œ œ

œœ œ Œ Ó œœ œ Œ Ó œœ œ Œ Ó     ’’ ’’’’

C 7

F m

Figure 2.20: Changing from close voicing to ‘drop 2’ voicing.

♭9/♭13

secondary subdominant  G♯ ◦7   =   C ♯♭79  =   A♯7   to harmonise harmonise the  g♯  g ♯. Usin Using ga plain  G♯m7  would have lead to an augmented 2nd step in P3. At [*6] we use an extended secondary dominant B♯  B ♯◦7  =  G♯♭79 to harmonise the  f ♯. ‘drop 2’ voicing. This changes changes to close voicing at the •  The example starts with ‘drop second 8th note of beat 1 in m. 1 (at the   E♯ ◦7 ). The Then, n, at the upward upward leap, leap, we change back to ‘drop 2’ and again to close voicing on beat 2 in m. 2 at the  G♯◦7 . The example ends with another change on the last two notes; the reason for doing this is to prevent the lower voices from having a 5th leap, since this might lead to instrumentation instrumentation prob problems. lems. Changing Changing the voicing voicing at these diminished diminished chords does not lead to repeated notes in any of the parts. ⊳

Theoretically, there is an even wider voicing possible for four parts. By also transposing the original fourth part P4 from the close position voicing to the lower octave and rearranging the parts we obtain an open voicing. The result result for the example example in this section is shown in Figure 2.21. Figure 2.21. Example 2.17: Open voicing.

Assign gn the part partss for for gi give ven n 44-pa part rt sect sectio iona nall ha harm rmony ony:: use use wide wide op open en voic voicin ing. g. Problem:  Assi Discussion: •  The harmonisation of the example has been left unchanged from the original

close voicing. from the close voicing have been transposed to the lower octave. •   Both P2 and P4 from We now obtain a range of almost two octaves. Note how the intervals between the outer voices still are not too dissonant (mainly 6ths and mild dissonances of  the minor 7th). ⊳

24

 

2.4. EXTENSIONS T TO O FOUR PART PART SECTIONAL HARMONY

&  c Ó

œ œ œ œ œ œ ‰ œ œ œœ œ œ

&? ? ?

œœœœ œœœœ ’ ’

1

P1 P2 P3 P4 H

cc c c

ÓÓ Ó ’ ’

Bm7

2

œœ œœ œœ ’

E7

3

‰‰ œ œ œ œ ‰œœ œœ ’ ’ ’ ’ A

∑ ∑∑ ∑ ’’’

Figure 2.21: Open voicing.

This voicing voicing is almost never never used. The open voicing voicing is not suited for a homogeneous  brass section; trumpets usually stay within the range of an octave, and although this voicing is within the compass of the trombone section, the open voicing is reserved for cases of  smooth stepwise motion (classical (classical harmony), not for sectional harmony. harmony. For the saxophone section sec tion the open open voicin voicing g often reach reaches es the limit limitss of compass compass.. Beside Besides, s, the open voicin voicing g limits limits the fluency of the phrase. This voicing may be used in moderate to medium tempo, for high or middle strings or with a mixed instrumentation.

2.4.4 The inev inevitabl itable e repea repeated ted note notess Sometimes we encounter a situation where we have to deal with repeated notes. Suppose the given given lead lead contai contains ns a number number of repea repeated ted notes. notes. This This probl problem em can be dealt dealt with with easily easily for a homogeneous instrumentation (e.g., four saxophones). Figure 2.22 Figure  2.22 shows  shows us the solution to the problem. Example 2.18: Repeated notes in the lead voice. Problem: Lead voice P1 contains repeated notes. Discussion:

Figure  2.22.a .a shows repeated notes in all voices. Let us briefly discuss the har•   Figure 2.22 monisation of the non-chordal tones. The appoggiatura  g♭  at [*1] is harmonised with a secondary dominant  F ♯◦7 , the  c  at [*2] is harmonised with a secondary subdominant  D m7 . Notice also also the change of voicing voicing from close to ‘dr ‘drop op 2’ at the leap in the lead voice and on the  E ◦7  chord. Figure 2.22. b  b shows how to eliminate the repetitions by exchanging the consec•   Figure 2.22. utive pitches pitches between neighbouring neighbouring voices. Also, at [*3] the B ◦7  chord is introduced to prevent repeats in P3 and P4. ⊳

25

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

P1 P2 P3 P4 H

&b c &b c ?b c ?b c ?b c

œo œ œ œ œ œ   œœœœœœ œœœœœœ œœœœœœ [*1]

1

F

œ œ œ œ

[*2]

œ o œ œ œ

œ œ œ œ ’ ’ ’ ’ ’ 7

G m7

2

D m7 E 7

C7

F

Œ Œ Œ Œ ’

Ó Ó Ó Ó ’’

(a)

& b c œ œ œ œo œ œ œ œ œ Œ &b c œ œ œ œ œ œ œ œ œ Œ ?b c œ œ œ œ œ œ œ œ œ Œ œœœœœœœœ ?? b cc œ Œ b ’ ’ ’ ’ ’’ [*3]

2

1

P1

B 7

P2 P3 P4

G m7

H

C7

F

Ó Ó Ó Ó ’’

(b) Figure 2.22: Repeated notes in the lead voice.

26

 

2.4. EXTENSIONS T TO O FOUR PART PART SECTIONAL HARMONY

P1 P2 P3 P4 H

& bb c b &? bbb cc ? bb c ? bb c

1

‰œœ œœ œ œ o o o [*1]

B 7

‰‰ œ œ ‰œœ ’

C m7

2

∑

E 7 A 7 Dm7

œœ œ œ ∑∑ œœ œ œ ∑ b ’ ’ ’ ’’’’ F7

B

Figure 2.23: Repeated notes at the end of a phrase.

A situation where repeated notes may be tolerated is at the end of a phrase. Here they do not cause great technical problems for the players. The musicians may even create a different articulation or tone colour by using alternative fingerings for the repeated notes. This, however, must be coordinated by the section, if an audible result is desired. An example of  repeated notes at the end of a phrase is shown in Figure 2.23. Figure  2.23. Example 2.19: Repeate Repeated d notes at the end of a phrase. Problem: Lead voice P1 contains repeated notes at the end of a melodic phrase. Discussion: •  Let us first discuss the harmonisation of the non-chordal tones. At [*1] we use

[*2] 2] we use a seque sequenc ncee of  a secondary dominant   B◦7  to harmonise the   d. At [* secondary dominants before the aiming chord   E ◦7   −   A◦7   −   Dm7 Dm7  , this last 9 chord being harmonically equivalent to  B♭ ∆7. •   Repeated Repeated notes will occur occur in the lower voices P3 and P4. Since they are are at the

end of the phrase, they are acceptable. It is in the middle of a (fast) phrase where they may cause danger.

⊳

2.4.5 Use o off ext extende ended d an and d alt altered ered domi dominant nant chord chordss Next we will discuss two examples showing a variety of techniques for the harmonisation of non-chordal non-chordal tones. The main aspects here will be the use of  extended and  extended  and altered  altered dominant We alread already y have encou encounte ntere red d an alter altered ed domina dominant nt chord chord in the the section section   ⇐= chord structures. structures. ♭ 9 on subdominant structures and ‘drop 2’voicing: the use of the S 7  , the dominant chord with lowered 9th where the upper four functions are combined to create the diminished chord. From now on we will allow all regular extensions and alterations of the dominant chord structures as shown in Table 2.3. Table 2.3. From  From this set we may pick any combination of four pitches, that however must include the 3rd and the 7th, the essential pitches pitches in the dominant chord chord 27

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

Table 2.3: Extensions and alterations of the dominant chord. Structure  ♭99 −9 =  ♭

Description lowered 9th

 

  natural 9th 9 +9 =  ♯  ♯99 = −10 =  ♭  ♭10 10   raised 9th or lowered lowered 10th −5 =  ♭  ♭55 = +11 = ♯ =  ♯11 11   lowered 5th or raised 11th +5 =  ♯  ♯55 = −13 =  ♭  ♭13 13   raised 5th or lowered lowered 13th 13   natural 13th

P1 P2 P3

P4

& bb c & bb c & bb c

‰œœœœœœœ o ‰œœœœœœœ ‰œœœœœœœ œ ? bb c ‰ œ œ œ œ œ œ ? bb c ’ ’ ’ ’ [*1]

B 7

Cm7

H

[*2]

1

[*3][*4] 2

œœœœœ o œœœœœ œ œ œ œœ œ œœœ œ

œœœ o œœœ œœœ œœ œ ’ ’ ’ ’ B 7

E 7

3

Œ Œ Œ

œo œ œ œ œ œ œ œœœœœ œ œœœœœ œ Œ œ œœ œœ ’’ ’ ’

F7

[*5]

E 7

C m7

[*6]

œ ‰ œ œo Œ ‰œœ Œ ‰œœ

œ œo œœ œœ Œ ‰œœ œœ ’’ ’ [*5]

4

B 7

E 7

œœ ∑ œœ ∑ œœ ∑ œœ b ∑ ’ ’’’’ [*7]

5

B

Figure 2.24: Harmonisation of non-chordal tones using altered dominant chords.

structure. We will structure. will need to apply altered altered or extended extended dominant dominant chords mainly mainly in cases where where a non-dia non-diatoni tonic, c, non-ch non-chord ordal al tone has to be harmonise harmonised. d. This This is shown in an exampl examplee in Figure 2.24. Figure  2.24. Example 2.20: Harmonisation of non-chordal tones using altered dominant chords. Problem: Lead voice P1 contains non-chordal and non-diatonic tones. Discussion:

beginning to beat 3 in m. 2 the harmonisatio harmonisation n is with diatonic parallel parallel •   From the beginning structures, unless this is impossible. impossible. The first chordal tone is the e♭ in m. 1 at [*1]; this determines the voicing of the previous chords. Strictly speaking this should lead to the following three chords at the start of the phrase:  D m7 − B♭ ∆7 − C m7 , all in 2nd inversi inversion. on. However However,, the first 8th note has been harmonise harmonised d using using another inversion of the  B♭  B ♭∆7  chord (just a matter of taste). At [*2] we have to use a secondary dominant B◦7  since there is no diatonic way to connect the two inversions of the  C m7  chor  chord. d. At [*3] we recognize recognize the 7 − 8  diatonic stepwise motion with a 2nd degree chord chord as basic harmony. harmony. We therefore therefore have to use C m7 − Dm7  (see the appropriate section on connecting minor 7th chords). From the g in m. 1 we onwards we recognise the diatonic parallel succession of chords until beat 2 in m. 2 [*4]: we have  C m7 − Dm7 − E♭ ∆7 − F ∆ ∆7 7 − Gm7 − E♭ ∆7 , all in 3rd inversion. The major 7th chord  F ∆7 elimination of the ∆7  is the result of the elimination 28

 

2.4. EXTENSIONS T TO O FOUR PART PART SECTIONAL HARMONY

P1 P2 P3 P4 H

& bb c & bb c & bb c ? bb c ? bb c

œœœœœœœœ o œœœœœœœœ œ œ œ œœ œ œ œ œ œœœ œœœœ

‰œ œœœœœœ o ‰œ œœœœœœ ‰œ œœœœœœ ‰œ œœœœœœ ’ ’ ’ ’ ’ ’ ’ ’ [*1]

[*1]

1

2

B 7

Cm7

B 7

Œ œ œœœœœ o Œ œ œœœœœ Œ œ œœœœœ Œ œ œœœœœ ’’ ’ ’ [*2]

3

Cm7B 7

F7

G7 C7 F7

œ ‰œœœœ Œ ‰œœœœ Œ ‰œœœœ Œ ‰œœœœ ’’ ’

[*3]

4

œ b œ œ œ

œ œ œ œ

5

E m7 m7 E m7 Dm7

b

∑ ∑ ∑ ∑

’ ’’’’ B

Figure 2.25: Harmonisation of non-chordal tones using altered dominant chords.

tritone interval that would have occurred with a purely diatonic solution (see the section on similar similar structures structures in diatonic diatonic parallel degrees). degrees). The final chord 9 E♭ ∆7 can also be considered considered a substitute chord for the C m the four upper 7  (using the pitches). •  The rest of m. 2 s treated in a regular way using secondary dominants B◦7 − C m7 and E ◦7 − F 7  at [*4]. •  In m. 3 and m. 4, beat 3, [*5] we use the suspended chord  C m7 /F . The second 8th note in m. 3  b♭  uses the substitute chord  E♭ ∆7 . •  In m. 3, beat 4, [*6] the lead voice has the altered, non-diatonic note  a♭ which we harmonise using the C 7♭9/♭ 13 chord (an altered dominant chord). end the the exam exampl plee with with a sequ sequen ence ce of se seco cond ndar ary y domi domina nant nt chor chords ds •   We end E ◦7   −   A◦7   −   B♭ ; the second chord is used to harmonise a non-diatonic, non9 .  B♭♭∆7 chordal tone g♭  and the B♭  B ♭ is replaced by the substitute chord  Dm7  =  B ⊳

The same same example example will will now be shown shown with with an altern alternati ative ve harmon harmonisa isation tion,, see Figur Figuree 2.25. Example 2.21: Harmonisation of non-chordal tones using altered dominant chords. Problem: Lead voice P1 contains non-chordal and non-diatonic tones. Discussion: •  M. 1 and m. 2 have now been harmonised using the secondary dominant  B ◦7,

when appropriate [*1]. •  The suspended chord in m. 3 has been anticipated in m. 2, beat 2 [*2]. •  The last three 8th notes in m. 3 [*3] are harmonised with a sequence of altered and extended dominant chords  G♭710/♭ 13 −   C 7♭9/♭13   −   F 713  . •   The last three notes in m. 4 show chromatic downward stepwise motion [*4] and can therefore be harmonised using exact parallel chords (or, equivalently, leading tone chords in sequence):  E m7   −   E♭ m7   −   Dm7 . In this case it does not sound great, but may be useful in other situations, preferably in rising stepwise motion. 29

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

& bbbb c œ œ œ œ œo œ œ œ b± & bbbbbbb cc œ œ œ œ œ œ œ œ & b œ œœœ œ œœœ ? bbbb c œ œ œ œ œ œ œ œ b ? bbbb c ’ ’ ’ ’ [*2]

[*1]

1

P1

Cm m7 7 A m7 m7

P2 P3 P4

D

7A 7

B m7

H

œœœœœœœœ b b b œœœœœœœœ œœœœœœœœ œœœœœœœ [*3]

2

B 7

[*4]

B 7

[*5]

B 7

œœœœÓ [*6]

3

œ œ œ œ ÓÓ œœœœ œœœœÓ b b ’ ’ ’ ’ ’ ’ ’ ’

E 7

A 7

Figure 2.26: Harmonisation of non-chordal tones.

⊳

Next we will look at an example example that uses a combination combination of techniques. techniques. The example, example, shown in Figure 2.26, Figure  2.26, has  has non-diatonic tones in the lead. Example 2.22: Harmonisation of non-chordal tones. Problem: Lead voice P1 contains non-chordal and non-diatonic tones. Discussion:

 (also so non-diatonic) non-diatonic) [*1]. Notes •  M. 1 starts with two non-chordal tones  g   and  e  (al 1 and 3 (g   and  f ) yield a  7   −   6  diatonic stepwise motion on the 2nd degree in major; the standard solution is the connection of two minor 7th chords on 3rd and 2nd degree degree (see the appropria appropriate te section). The e  can be harmonised using a leading tone chord. The combined result is  C m7   −   Am7   −   B♭ m7. following note a♭ [*2] is is chordal, chordal, but but is harmonised harmonised with the the substitute substitute chord chord •  The following 9 D♭∆7  =  = B  B♭♭m 7.

•  The non-chordal notes on beat 3 in m. 1 are harmonised with a secondary domi-

nant  A◦7 . •  The non-chordal tone c  in m. 2 [*3] is harmonised with an extended, altered sec♭ /♭

ondary dominant  B 79  13 ; on the chordal chordal tone b♭  we use an extended dominant 9 chord E♭  E ♭7 , equivalent to the substitute chord G∅7 . non-diatonic. It is harmonised with an al•  The next non-chordal tone  g♭  [*4] is non-diatonic. ♭ /♭

tered secondary dominant  B ♭79  13 . The same dominant, dominant, although although in differe different nt forms, is also used on beat 3 and 4 of the same measure. measure.  in m. 3 [*5] •  Now we reach a flaw in the exercise. Harmonising the non-chordal  f  in with the secondary dominant  B ♭97  leads to repeated notes in the lower voices. We will later correct that error. 30

 

2.4. EXTENSIONS T TO O FOUR PART PART SECTIONAL HARMONY

•  The three chordal notes in the last measures [*6] have been harmonised with an

extended dominant A♭97 . ⊳

We will look at a number of alternative solutions to this problem, that will also correct the repeated notes. Example 2.23: Harmonisation of non-chordal tones. Problem:   Lead voice P1 contains non-chordal and non-diatonic tones (see Figure 2.27). 2.27 ). Discussion:

Figure  2.27.aa uses a ‘drop ‘drop 2’ voicing voicing in the last two measures. measures. •  The alternative in Figure 2.27. The harm harmon onisa isati tion on has has not chan changed ged,, exce except pt for for th thee last last four four be beat atss of the exam exampl ple. e. We will discuss these in detail. repeated notes on beat 4, m. 2, have been eliminated using the progression progression •   The repeated F m7 − E♭ 7 − A♭7 [*1]  [*1].. Notice Notice that that the penult penultima imate te note c [*2] has been been harmonised harmonised 9 7

using the secondary dominant  E♭  E ♭ .

•  This example still has some flaws. First, by using the wider ‘drop 2’ voicing, the

7ths a♭  and  d♭  of the B♭ 7  and  E♭  E ♭7  respectively [*3] lie in an extremely low range. This yields unacceptably low acoustic roots for these chords.  B ♭7 − F m7  on m. 2, beat 4 [*4] is poor: it lacks functional har•   The progression  B♭

monic sense and therefore is weak. Figure  2.27. b  b changes to ‘drop 2’ voicing just before the last •  The alternative in Figure 2.27. measure. This eliminate measure. eliminatess the low   a♭  of the   B♭ 7  chord, although the   d♭  is still in the low octave. The change of voicing voicing does not take place on a diminished diminished chord. final meas measur uree has has been been harm harmon onise ised d us usin ing g the exte extend nded ed form form of th thee basi basicc ha harr•   The final 9/13

mony  A♭ 7   . Although Although somewhat somewhat improved, improved, this this solution solution still does does not sound sound great. Figure  2.27.cc has beat 4, m. 2 harmonised using the secondary •  The alternative in Figure 2.27. subdominant structure  F m7 , the 2nd degree relative to the basic harmony  E ♭7 (see the appropriate section). 9/♭13

thee nonnon•  The final measure uses a secondary dominant structure   E♭ 7   on th chordal tone f . So we end up with a  V I m7 − V 7 − I  cadence   cadence in  A♭-major. •  The example uses close voicing; there is no range problem for the lower voices.

Figure 2.27.d d has beat 4, m. 2 harmonised with a different •  The final alternative in Figure 2.27. form of secondary dominant structure  E♭ ◦7  =  F 7♭9  = A♭ ♭79  . ⊳

31

 

CHAPTER CHAPT ER 2. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 4 P PART ARTS S

& b bb b c œ œ œ œ œ œ œ œ & b bb b c œ œ œ œ œ œ œ œ ? bbbb c œ œ œ œ œ œ œ œœ ? b bb b c œ œ œ œ œ œ œ b ? b bb b c ’ ’ ’ ’ 1

P1 P2 P3 P4

B m7

H

P1 P2 P3

P4 H

P1 P2 P3 P4 H

P1 P2 P3 P4 H

& bb bb c & bb bb c ? bb bb c ?? bbbbb c b bb c & bb bb c & bb bb c ? bb bb c ? bb bb c ? bb bb c & bb bb c & bb bb c ? bb bb c ? bb bb c ? bb bb c

1

œœœœœœœœ œ œ œ œ œœ œ œœ œœ œœœœ œ œ œœœœœ b œœ ’ ’ ’ ’

B m7

1

œœœœœœœœ œ œ œ œ œœ œ œœ œœ œœœœ œ œœœœœœœœ

[*3]

œb œ œb œ œb œ Ó œ œœ œÓ œ œ œœœœÓ œ œ œb œ œ œ Ó ’ ’ ’ ’ ’ 3

B 7 E 7 B 7 Fm7

E 7

œœœœœœœœ œ œ œ œ œœ œ œœ œœ œœœœ œ œœœœœœœœ

E 7

(a)

œœœœœœ b b œœœœœœ œœœœœœ œœ b œœœœ ’ ’ ’ [*1]

2

œb œ œ

œb œ œ

3

B 7 E 7B 7 E 7

E 7

A 7

œœœœœœ b b œœœœœœ œœœœœœ œœœœœœ

B 7 E 7Fm7

E 7

3

œœœœœœ b b œœœœœœ œœœœœœ œœœœœœ

B 7 E 7F

E 7

7

œb œ œ œ Ó œœœœÓ œœœœÓ œœœœÓ b ’ ’ ’ ’

E 7

A 7

(c)

2

œœœœÓ œœœœÓ œœœœÓ

œ œ œb œ œ œ Ó ’ ’ ’ ’ ’

(b)

2

E 7

A 7

 œo œ œœ œœ œœ b b ’ ’ ’ ’ ’ ’ ’ ’

B m7

[*2]

[*1,4]

œœ œœ œœ œœ b b ’ ’ ’ ’ ’ ’ ’ ’

B m7

1

œœœœœœ b b œœœœœœ œœœœœœ œœœœœœ b ’ ’ ’

2

3

œb œ œ œ Ó œœœœÓ œœœœÓ œœœœÓ b ’ ’ ’ ’

E 7

A 7

(d) Figure 2.27: Harmonisation of non-chordal tones. 32

 

Chapter 3

Sectional harmony in five parts

Writing riting sectional harmony in five parts is a skill that is often required required in contemporary contemporary big  band arranging, where the saxophone section consists of five players. Since this section is the most frequently used in the big band and capable of incomparable fluency we find a lot of excellent writing for five saxophones and numerous ‘saxophone special choruses’ have  been written for the five working horses in the band. There is less treatment of this technique in the arranging textbooks (see [2 [ 2], Ch. 8, [6 [6], p. 25, [11 [11], ], p. 35). basically basically,, there are are two categories of five part sectional sectional writing, where one is little more than a doubling of the lead voice of the basic four part sectional harmony. However, the second technique is considerably different and makes great use of  clusters that  clusters that are generated by writing writing the chords in 4th voicings. We will discuss both techniques in this chapter and look at examples.

3.1 The extended extended four part sectional sectional harm harmony ony Writing extended four part sectional harmony ta Writing extended kes no more more effor effortt than than writin writing g for the four four part part   ⇐= harmony takes section. We use exactly the same techniques for the harmonisation of chordal, non-chordal and non-diatonic tones in het leading voice, that we have already mastered in that chapter. Theree is only one voice to be doubled and this is the lead voice. The result Ther result is that the melody is heard exactly exactly one octave below the original and this gives it extra support. support. It is a standard standar d technique of which you will encounter numerous numerous examples examples in big band scores. It is used in the already mentioned ‘Supersax plays Bird’ recordings. Let us now discuss an example using this technique (see Figure 3.1 Figure  3.1). ). Example 3.1: Sectional harmony in five parts, lead doubled an octave below. Problem: Lead voice P1 contains non-chordal and non-diatonic tones. Discussion:

33

 

CHAPTER CHAPT ER 3. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 5 P PART ARTS S

P1

P2

P3

P4

P5

H

& b bb c b & bbbbb cc & ? b bb c ? b bb c ? b bb c

1

œœœœœœœœ œœœœœ œœ ˙ Ó 2

œ œ œ œ œ œœ œ œ œœœœœ œœ œœœœœœœœ œœœœœœœœ b œ œ œ œ

F m7

B 7

3

œœœœœ œœœœœ œœœœœ œœœœœ

˙ ˙ ˙ ˙ œ œ œ œ ˙

G m7

C7

œœ œœ œœ œœ

Fm7

ÓÓ Ó Ó Ó

Figure 3.1: Sectional harmony in five parts, lead doubled an octave below.

This exam exampl plee has has been been di disc scuss ussed ed exte extensi nsive vely ly in th thee chap chapte terr on four four part part sec secti tiona onall •   This harmony (there it was written a minor 2nd higher). So see that chapter for the reasoning behind the harmonisation. part P1 has been been doubled doubled one octave below as P5. There is close close voicing voicing •   The lead part throughout the phrase. ⊳

Obviously, the use of five voices enables us to develop several alternative voicings. Now, Obviously, Now, we will show a number of these options. We start with the example in Figure 3.2 Figure  3.2.. Example 3.2: Sectional harmony in five parts, mixed voicing, ‘drop 2’. Problem:   Lead voice P1 contains non-chordal and non-diatonic tones; assign the parts using mixed voicing. Discussion:

Here is the ‘drop 2’ voicing voicing as applied applied to a five part part section. section. The lead lead is now •   Here supported by an inner voice P4. •  The bottom voice has the same intervallic relationship with the lead as in the

four part section. fairly regularly regularly used, unless the bottom voice gets into a too low range (see •   It is fairly  below for the solution of that problem). ⊳

We will now discuss two alternative voicings for the same problem.

34

 

3.1. EXTENDED 4 PART SECTIO SECTIONAL NAL HARMONY

P1

P2

P3

P4

P5

H

& bbb c bb c && bbbb c ? bbb c ? bbb c ? bbb c

1

œœœœœœœœ œœœœœ œœ ˙ Ó Ó œœœœœœœœ œœœœœ œœ ˙ Ó œœœœœœœœ œœœœœ œœ ˙ œœœœœœœœ œœœœœ œœ ˙ Ó œœœœœœœœ œœœœœ œœ ˙ Ó b œ œ œ œ œ œ œ œ ˙ Ó

F m7

2

B 7

G m7

3

C7

Fm7

Figure 3.2: Sectional harmony in five parts, mixed voicing, ‘drop 2’.

Example 3.3: Sectional harmony in five parts, open voicing, ‘drop 2 and 4’. Problem:   Lead voice P1 contains non-chordal and non-diatonic tones; assign the parts using open voicing (see Figure 3.3) Figure  3.3).. Discussion:

voicing is obtained using the ‘dr ‘drop op 2 and 4’ technique. technique. Strictly Strictly •   An even wider voicing speaking (in classical speaking classical sense) sense) this is not a fully fully open voicing. voicing. The part that that now doubles the lead is P3. •  The bottom voice P5 has the same intervallic relationship to the lead as in the

case of four part sectional harmony, although it now is now at one octave below the four part version. •  This technique is not commonly used. There is a risk of loss of fluency at higher

tempos.

⊳ Example 3.4: Sectional harmony in five parts, alternating voicing. Problem:   Lead voice P1 contains non-chordal and non-diatonic tones; assign the parts using mixed voicing and determine the appropriate points for transition (see Figure 3.4 Figure  3.4). ). Discussion: •  Here is an example of mixed or alternating voicing. Close voicing has been used

at the low points of the lead melody at [*]. The rest of the example uses ‘dr ‘drop op 2’ voicing. Pay attention to the points where the voicing is changed; This happens at either diminished chords or at wide leaps. 35

 

CHAPTER CHAPT ER 3. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 5 P PART ARTS S

P1

P2

P3

P4

P5

H

& bbb c & bbb c ? bbb c ? bbb c ? bbb c ? bbb c

1

œœœœ œœœ œ œ œ œ œœ œ œ œ œœœœœœœœ œœœœœœœœ œœœœœœœœ b œ œ œ œ

F m7

B 7

œœœ

2

œ œ œ œœ œœ œœœœœ œœœœœ

œ

3

œ œœ œœ œœ

˙ ˙ ˙ ˙

œœœœœ œœ ˙ œ œ œ œ ˙

G m7

C7

Fm7

Ó Ó Ó Ó Ó Ó

Figure 3.3: Sectional harmony in five parts, open voicing, ‘drop 2 and 4’.

& bbb c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó & bbb c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó [*] [*] [*] [*]

P1

P2

P3

P4

P5

H

& bbb c ? bbb c ? bbb c ? bbb c

[*] [*] [*]

2

1

œ œœ œ œ œ œœ œ œ œ œœœ œœ œœœœœœœœ œ œ œb œ

F m7

B 7

[*]

3

œœœœœ œœœœœ œœœœœ œ œ œ

G m7

C7

œœ ˙ Ó œœ ˙ Ó œœ ˙ Ó œ ˙ Ó Fm7

Figure 3.4: Sectional harmony in five parts, alternating voicing.

36

 

3.2. SECTI SECTIONAL ONAL H HARMO ARMONY NY IN 4THS

& ?

1 5 9 6 3 6

C9

w w w w

[*]

± ± w w w w w 7

7

w w w

∑ ∑ w w w w w w w w w & ? w w w w w ( ) 6

C9

∑ ∑

(a)

[*]

9

5 3 7

11 1

add11 D m7 add11

(b) Figure 3.5: Sectional Figure Sectional harmony harmony in five parts, chords chords in 4ths. (a): left: the major chord chord with added 6th and 9th, top right: the alternative alternative voicing voicing with  ∆7   replac replacing ing the root. root. (b): the minor 9th chord with added 11th. •  The change from open to close voicing from the first to the second note is not

very effective. ⊳

3.2 Sectional Sectional harmony harmony in four fourths ths Another technique for writing five part sectional harmony uses harmonic structures in fourths. fourths. It is most frequently used when writing for a five member saxophone section in big band music or for the woodwind the  woodwind section in section  in a studio orchestra or symphonic orchestra. Two types of harmonic structures can be voiced as a chord in perfect fourths: The major chord with chord with added  added 6th and 9th: 9th:  S 96; •   The major 9/add11

The minor ninth chord with equivalently, added 4th): •   The minor chord  with added  added 11th (or, 11th (or, equivalently, added 4th):  S m7   . These chord structures, based on the interval of the perfect 4th, can be found on the 3rd and 6th step of the diatonic major scale; the chord structure on the 3rd step corresponds to the S 96  (major chord with added 6th and 9th), the chord structure on the 6th step corresponds 9/add11 to the S m are the 7   (minor 9th chord with added 11th). The four consecutive perfect 4ths are maximum number in the diatonic major scale (check this by trying to add another perfect 4th to either side of the two structures). The voicing for both chord structures for all inversions is shown in Figure 3.5 Figure  3.5.. The  C 96 chord with the root in the lead (leftmost structure: numbers indicate the various members in the structure) structure) yields four intervals of the perfect perfect 4th. The other inversions inversions will contain contain one interval interv al of the major 3rd. The minor 9th chords yields a perfect chor chord d in 4ths when the 3rd is in the lead (see the fifth voicing on the bottom system in the figure). 37

 

CHAPTER CHAPT ER 3. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 5 P PART ARTS S

This basic voicing in 4ths can be slightly modified, yielding an alternative voicing, as is indicated by the [∗]  in the figure: the major chord with •  In the major chord with added  added 6th and 9th, 9th, the S 96, the root may be replaced by the major 7th, the ∆7. This yields another perfect chord in 4ths (see the fourth voicing in the top right system) an is particularly useful for when the root is in the higher register (the ∆7  in the lower voice may lead to a too low acoustic root of the chord). In short, for the major chord we have the replacement rule:  ∆7 = 1; 9/add11

the  minor ninth chord  with  with added •   In the minor  added 11th, 11th,   S m7   , the  9  may replace the root of the structure, as demonstrated in the fourth voicing in the bottom system. In short, for the minor chord we have the replacement rule:  9 = 1 ; Let us now turn to a number of examples of five part sectional harmony in fourths. Example 3.5: Sectional harmony in five parts, chords in 4ths. Problem:  Write five part sectional harmony using chords in 4ths for a given diatonic the lead voice P1 (see Figure 3.6) Figure  3.6).. Discussion:

The lead lead voic voicee conta contain inss a numb number er of stepw stepwis isee 9 ց 1 mot motio ions, ns, see [*1] [*1] in Fi Fig. g. 3.6.a. 3.6.a. •   The The basic harmony is  Gm7 : this implies the replacement rule  9 = 1 and therefore will yield repeated notes in the lower parts if both lead pitches are harmonised using usin g the same chord. chord. In order order to preve prevent nt these, the diatoni diatonicc parall parallel el minor minor chord Am7 (on the 3rd step of the  F  major  major scale) is used at these instances, yielding also a modal flavour to the phrase. •  At [*2] the lead voice has the 6 or 13 of the basic harmony (a non-chordal tone

in the voicing in 4ths): in that case also the diatonic parallel  A m7  chord is used to harmonise the lead. The following following lead pitch can be harmonised harmonised with either Gm7  or  Am7 . structures in 4ths may get into a too low register •   At [*3] the wide voicing using structures for the par ts. In that case a narrower voicing voicing may used, shown in Fig. 3.6. Fig.  3.6. b.  lower b. Thisparts. however leads to repeated notes in part P3. be Note thatasthe t he  g  in the lead in m. 2 now is harmonised with the basic chord  Gm7 . •  The repeated notes can be prevented by choosing the appropriate point for

switching from open to more closed voicing. In this example the entire phrase will have to be rewritten in closed voicing, as shown in Fig.   3.7, 3.7, leading to a dense cluster dense  cluster voicing. voicing. ⊳

Example 3.6: Secti Sectional onal harmony in five parts, chords chords in 4ths, leadi leading ng tone in lead voice.

Figure  3.8. Problem: See Figure 3.8. Discussion:

38

 

3.2. SECTI SECTIONAL ONAL H HARMO ARMONY NY IN 4THS

P1

P2

P3

P4

P5

&b c &b c &b c ?b c ?b c

[*1]

1

[*1]

œœœœ œœœœ œœœœ œœœœ œœœœ

œ œ œ œ

[*3]

œœ œ œœ œ œœ œ œœ œ œ œœ œ 2

[*2]

[*1]

œœœœœœ œœœœœœ œ œ œ œœ œ œ œœœ œœ œœœœœœ

3

œ Œ œ Œ œ Œ œ Œ œ Œ

Ó Ó Ó Ó Ó

Gm7

H

tb c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ (a)

P1

P2

P3

P4

P5

H

&b c &b c &b c ?b c ?b c tb c

œœœœœ œœ œ œœœœœ œœ œ œœœœœ œœ œ œœœœœ œœ œ œœœœœ œœ œ [*2]

1

2

[*]

œœœœœœ œ Œ œœœœœœ œ Œ Œ œ œ œ œœœœ œ œœœ œœ œ Œ œœœœœœ œ Œ [*1]

3

[*]

Ó Ó Ó Ó Ó

’ ’ ’ ’ ’ ’ ’ ’ ’’’’

Gm7

(b) Figure 3.6: Sectional harmony in five parts, chords in 4ths. (a): harmonization of the  9 ց 1 stepwise motion in the lead using the diatonic parallel  A m7  chord. (b): More closed voicing is used to prevent too low lower parts, leading to repeated notes in middle voices.

39

 

CHAPTER CHAPT ER 3. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 5 P PART ARTS S

P1

P2

P3

P4

P5

H

bc && b c &b c ?b c ?b c tb c

1

œ œœœ œœ œœ œœ œœœœœ œœœœœ œœœœœ

2

œœ œœ œœ œœ œœ

œ œ œ œ œ

œœœ œœœœœ œœœ œ œ œ œ œœ œœ œ œœœ œ œœœœœœ

3

œ œ œ œ œ

Œ Œ Œ Œ Œ

Ó Ó Ó Ó Ó

’ ’ ’ ’ ’ ’ ’ ’ ’’’’

Gm7

Figure 3.7: Sectional harmony in five parts, chords in 4ths, close (cluster) voicing.

&b c œ œ œ œ œ œ b &b c œ œ œ œ œ œ &b c œ œ œ œ œ œ ?b c œ œ œ œ œ œ ?b c œ œ œ œ œ œ tb c ’ ’ ’ 1   [*]

P1

B m7 A m m7 7

P2

P3

P4

P5

Gm7

H

Fm m7 7 Am m7 7

Œ Œ Œ Œ Œ ’

Figure 3.8: Sectional harmony in five parts, chords in 4ths, leading tone in lead voice.

40

 

3.2. SECTI SECTIONAL ONAL H HARMO ARMONY NY IN 4THS

•  At [*1] the lead voice has a stepwise motion  f    ց   e  ( 7  to  6 ) of the basic chord

Gm7 . As was shown in the previ previous ous example example the 6  in the lead is harmonised with the diatonic parallel chord Am7 . The leading tone motion is harmonised by using the exact parallel chord structures, in this case with  B  B♭♭m7 − Am7 . 9/add11 •  In this brief example the lead is entirely harmonised with exact parallel  S m 7

structures, yielding an  F m7  chord on the  c  in the lead (which could have been harmonised using the basic chord Gm7 ). ⊳

Example 3.7: Sectional harmony in five parts, basic harmony contains mixed chord structures.

Figure  3.9. Problem: See Figure 3.9. Discussion:

solution is based on a harmonisation harmonisation in 4ths: the upward upward leading tone •   The first solution b ր c at [*1] in Fig. 3.9. Fig. 3.9.aa is harmonised using the exact parallel chord B96 . •  Upon arrival at the dominant chord   B♭ 7  the harmonisation in 4ths obviously

cannot be continued: continued: this is caused by the essential essential,, characteri characteristic stic interval interval of  augmented 4th (or diminished 5th) between the  3  and  7  of the dominant chord. So, in case the basic harmony contains other chord structures than the S 96 o  orr S m7, we will also have to use a hybrid harmonisation, leaving and returning to the harmonisation in 4ths.

Fig.  3.9.b .b the same phrase is •  In order to remind us of the older techniques, in Fig. 3.9 harmonised using the secondary dominant   B◦7  at the non-chordal lead tones, marked with [*]. [*]. Howeve Howeverr, note at [*2] the upper our voices in the  B ♭7  chord: these form three superimposed superimposed perf perfect ect 4th intervals. So the basic flavour of the perfect 4ths can be maintained somewhat also in the harmonisation of dominant 7th chords. •  Maximisation of the use of perfect 4ths in the voicing of dominant 7th chords

is shown in Fig. 3.10 Fig.  3.10,, starting starting at [*2]. [*2]. The lead lead voice voice now is differ different ent.. As an illustration of the  ∆7 = 1  replacement rule for the major chord, see the voicing at [*1]. ⊳

41

 

CHAPTER CHAPT ER 3. SECTI SECTIONAL ONAL HARM HARMONY ONY IN 5 P PART ARTS S

&c ‰ &c ‰ &c ‰ ?c ‰ ?c ‰ 1

P1

P2

P3

P4

P5

œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ [*]

B

C

H

tc œ œ œ œ

œ œ œ œ

œ œ œ œ

2

œ œ œ bb b

B 7

P1

&c ‰ &c ‰ &c ‰ ?c ‰ ?c ‰ tc œ

P2

P3

P4

P5

C

H

œ o œ œ œ

œœœœ œœœœ œœœœ œœœœ œœœœœœ œ œ œ œ œ œ œ

[*1] [*]

B 7

[*]

13

A7

13

œ œ Ó

(a)

1

œ Ó œ Ó œ Ó œ Ó

œ œ œ Ó œ œ œ Ó œ œ œ Ó œ œ œ Ó œ œ œ Ó bœ œ Ó [*2]

2

B 7alt

A7 alt

(b) Figure 3.9: Figure 3.9: Sectiona Sectionall harmony harmony in five parts, parts, mixed mixed chord chord struct structur ures. es. (a): (a): harmoni harmonizat zation ion using using chords in 4ths. (b): conventional sectional harmony, using the secondary dominant

42

 

3.2. SECTI SECTIONAL ONAL H HARMO ARMONY NY IN 4THS

&c ‰ œ œ œ œ œ œ œ œ œ Ó [*1]

[*2]

1

P1

P2 P3

P4

P5

&c ‰ &c ‰ ?c ‰ ?c ‰ tc œ C

H

2

œœœœœœœ œœœœœœœ œœœœœœœ œœœœœœœ œ œ œ

œ œ Ó œ œ Ó œ œ Ó œ œ b œ  œ Ó

B 13

11

A7

alt

Figure 3.10: Sectional harmony in five parts, maximising the harmonisation in 4ths.

43

 

CHAPTER CHAPT ER 4. ENSE ENSEMBLE MBLE TE TECHNIQ CHNIQUES UES

Chapter 4

Ensemble techniques

In this chapter we will discuss several techniques of   of   ensemble writing, writing, i.e., for a group of  mixed instrumenta instrumentation tion and variable variable size. Obviously Obviously we will work with the standard standard big  band instrumentation of five saxophones, four trumpets, four trombones plus rhythm section, but we will also have a look at smaller ensembles. We will assume here that the lead voice is the highest part in the ensemble. Theree is considerabl Ther considerablee treatment treatment of these techniques techniques in the textbooks textbooks (see [2], 2], Part 5, [6 [6], p. 131 ff., [11 [11], ], Ch. 14-16). First the main aspects of ensemble writing will be discussed. Then the various techniques will be illustrated using examples.

4.1 Fun Fundam dament ental al aspect aspectss This section will discuss a number of fundamental aspects of ensemble writing. These have to be considered irrespective of the specific technique we will apply to the ensemble. As we did before, our examples will start from a given basic harmony and, sometimes, a given lead voice. When writing for the ensemble take into account the following aspects: •   Choose what will be your primary effect: effect: the melody or the harmon harmony y.   Before you

start writing the ensemble ensemble phrase think about the desired desired effect. effect. In the standard big  band instrumentation there will be thirteen people playing and they can achieve a very impressive effect, particularly at loud volume. Nevertheless, from a composer’s point of view you still have the freedom to decide whether you will use that majestic effect employing the combined sound only or add extra value by creating melodic sense of  your lead voice. voice. This obviou obviously sly does not apply in situations with a pre-dete pre-determine rmined d lead voice. Befor oree writin writing g any actual actual parts parts generat generatee •   Dete Determ rmin ine e the the range range of the the en ense semb mble le phra phrase se..   Bef a clear clear idea of of the range range of the lead lead voice voice in your your phrase. phrase. The phrase may have have a length length of between, say, say, 2 and 32 measures measures (a ‘tutti special special chorus’). This range is affected affected by 44

 

4.1. FUNDAMENTAL ASPECTS

TPT1 AS1

TPT2

AS2

TPT3 TPT4

TS1

TBN1 TBN2 TBN3

TS2 BS

TBN4

Figure 4.1: Example of ensemble voicing diagram.

Table 4.1: Checklist outer voices in big band. Outer voices full big band TPT1 vs. TBN1 TPT1 vs. AS1 TPT1 vs. TBN4 TPT1 vs. BS

the instrumentation, in particular the compass of your lead voice. But it also affects the voicing voici ng in the upper range section. section. this will be the trumpets trumpets in case of a big band, but it might also involve a string or woodwind section. •  Determine the voicing of the leading section.  This will usually follow from the range

of the lead voice. In general, this is the moment when you decide to use cluster cluster, close or open voicing voicing (see the the chapter chapter on strata strata technique techniques) s) for the the leading leading section; section; •   Determine Determine the relative range of the lower sections. sections.  The next step is to decide about

the range and the voicing of the other sections in the ensemble. We will indicate these ranges by the voicing the  voicing diagram  as illustrated in Figure 4.1 Figure  4.1.. In this exampl examplee we see the   ⇐= three thr ee sectio sections ns of the big band; band; each each column column repr represe esents nts the voicin voicing g of a section section from from low to high. The trombones (abbreviated as TBN) use a wider voicing than the trumpets (abbrev (abb reviated iated as TPT) that are in close voicing. We see an overlap between between the three sections. •  Write the voices for the most dominant section first.  In the big band the brass will

usually dominate over the saxophones. Therefore we start with the brass voicing and then continue with the saxophone voicing. Finally, we have to inspect inspect the intervalli intervallicc relations relations of the •   Check the outer voices.   Finally outer voices of each section. Table 4.1 Table  4.1 contains  contains a checklist for the big band. Obviously, this depends on the actual instrumentation. instrumentation. You will never find TBN1 above TPT1 (unisono is possible though) and usually the top saxophone voice AS1 is one ore more voices below TPT1. 45

 

CHAPTER CHAPT ER 4. ENSE ENSEMBLE MBLE TE TECHNIQ CHNIQUES UES

P1

P2

P3

P4

H

P1

P2

P3

P4

H

& bb c & bb c & bb c & bb c ? bb c & bb & bb & bb & bb ? bb

œ œ œ œ œ

[*1]

1

Gm7

œ œ œ œ œ

[*7]

5

C m7

œ œ œ œ

œ œ œ œ œ

œ œ œ œ ‰ ‰ ‰ ‰ œ

œ œ œ œ

[*1]

œ œ œ œ

œ œ œ œ œ

[*1]

œ œœ œ œœ œ œœ

 3

 3

 3

 3

œ œ œb C m7 /E

œ œ œ œ œ

œ œ œ œ

[*1] 2

œ œ œ œ œ

C m7

œœ œ Œ œœ œ Œ œœ œ Œ œ œ Œ œ œ œø 6

A 7

œ œ œ œ

[*1]

œ œ œ œ

œ œ œ œ œ

Œ Œ Œ Œ œ

D7

‰ ‰ ‰ ‰ œ

œ œ œ œ

œ œ œ œ

[*8] [*9]  3

 3

 3

 3

œœ œ œ œœ œ œ œœ œ œ œœ œ œ b œ

‰ ‰ ‰ ‰ œ œ œ œ œb

3

 3

 3

 3

E m7 m7

œ œ œ œ

 3  3

 3

 3

D7 9

œ œ œ œ œ

[*3]

[*2]

 3

œ œ œ œ

œ œ œ œ œ

œ œ œ œ

œ œ œ œ

[*4]

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ [*5]

4

A 7

∑ ∑ ∑ ∑

7

œ œ œ œ

Gm7

œ œ œ œ œ

œ œ œ œ

D m7

œ œ œ œ œ

[*6]

œ œ œ œ

‰ ‰ ‰ ‰ œ

œ œ œ œ

G7

œ œ œ œ œ

[*7]

œ œ œ œ

∑ ∑ ∑ ∑

8

œø œ œ œ

A 7

D7

Figure 4.2: Starting the ensemble voicing: sectional harmony in four parts.

Now, we will discuss the various techniques and show examples.

4.2 Ensemble Ensemble techn technique ique derived derived from from four four part part section sectional al harmon harmony y This technique of ensemble writing is derived from the four part sectional harmony that we have studied studied in that chapter. chapter. The problem problem we now have to solve is the proper distrib distribution ution of the four basic voices over a larger group of instruments. You will have to decide on the correct doublings, create an clear lead voice and choose the type of voicing for each section. In cases where a section consists of less than four voices you will have to combine it with another section and make sure that the combination of both has the full four part chords at all times. The first step, however, is to compose the four part sectional harmony for a given lead voice. Figure 4.2 Figure 4.2 gives  gives an example. Example 4.1: Sectional harmony in four parts. Problem: Lead voice P1 contains non-chordal and non-diatonic tones. Discussion:

non-chordall tones in m. 1 and m. 2 [*1] have been harmonised harmonised using a sec•   The non-chorda ondary dominant  F ♯◦7  and  B◦7  respectively. harmonised with an extended sec•  The non-chordal tone f   in m. 2 [*2] has been harmonised ondary dominant chord E♭  E ♭97 . 46

 

4.2. FOUR P PART ART E ENSEMBLE NSEMBLE TECHNIQUE

6-7 stepwise motion on the 2nd 2nd degree degree (in D♭ -major) The •   In m. 3 [*3] we find the 6-7 c therefore is harmonised with the 3rd degree F m7  chord. •   The  b♭  in m. 3 [*4] is harmonised with the secondary dominant  G ◦7  to prevent

repeated notes towards the aiming chord  A♭7 . •  Beat 4 of m. 3 [*5] shows a chain of secondary dominants towards the aiming chord A♭◦7 − E♭ 7 − Dm7 .

aimi iming ng •  In m. 4 [*6] the  c  is harmonised with a secondary dominant  F ♯◦7 . The a chord is G7 . •  The rest of that measure plus the following uses secondary dominants to har-

monise the non-chordal tones  a, d, f   and d  [*7]. •  In the final measure the chordal tone c [*8] is harmonised with the subdominant

This is equival equivalent ent to a forwar forward d extension extension of the   D7 , a structure   A◦7   =   E♭ ◦7 . This technique that we have seen before. •  The non-chordal tone b♭ in m. 6 [*9] is harmonised with the secondary dominant

C ♯◦7.

last thre threee notes notes use use a seque sequenc ncee of domi domina nant nt ch chor ords ds to towa ward rdss the aimi aiming ng ch chor ord d •   The last E♭ 7 − D7 − Gm7 . ⊳

After completing the four part sectional setting we will demonstrate the instrumentation procedure for three groups of instruments, from a full big band to a smaller ensemble.

4.2.1 Instru Instrumenta mentation tion for full big band Figure   4.3 shows Figure  4.3  shows the instrumentation of the previous example for full big band (5SAX + 4TPT + 4TBN). We will now discuss the details of that instrumentation. Example 4.2: Sectional harmony in four parts; full big band. Problem:  Assign the parts to the 8 brass and 5 saxophones for given 4 part sectional

harmony. Discussion: •  The trumpets play full chords in close voicing. TPT1 is in its middle range. This

example is a good range for this sectional technique. •   There is an overlap between the trumpet and the trombone section; we have

TBN1=TPT3, TBN2=TPT4. TBN1=TPT3, TBN2=TPT4. They will support the lower trumpet voice voices, s, especially ciall y when these are in the lower range. the intervallic intervallic relationship relationship between between the brass outer voices is good (mainly consonant 3rds, intercha interchanged nged with mild dissonant 2nds). Copying the trombones one octave below the trumpets would have lead to a too low range for TBN4 and would have lead to performance problems. •  The trombones also are in close voicing. Full brass are kept within not too wide

a range for maximum fluency. fluency. TBN1 is in high range in m. 2 and m. 3; this may require professional playing skills. 47

 

4.2. FOUR P PART ART E ENSEMBLE NSEMBLE TECHNIQUE

TPT1 AS1 AS2

TPT2 TPT3

TBN1

TS1

TPT4

TBN2

TS2

TBN3

BS

TBN4

Figure 4.4: Voicing diagram full big band.

Saxophoness play in close voicing voicing.. There There is overlap overlap with the brass: brass: we have •   Saxophone AS1=TPT2 and BS=TBN4. Again we see good intervallic relationships between TPT1 and the outer saxophone voices; there are occasional 2nds between TPT1 and AS1. These are no problem, especially not in medium to up tempos. Figure 4.4 shows  shows the voicing diagram. •   Figure 4.4 ⊳

4.2.2 Instru Instrumenta mentation tion for reduc reduced ed big band Figure 4.5 shows shows the the in instr strum umen enta tati tion on for for a bi big g ba band nd of somew somewha hatt redu reduce ced d si size ze (4SAX (4SAX + 3TPT 3TPT + 3TBN). Example 4.3: Sectional harmony in four parts; reduced big band. Problem:  Assign the parts to the 6 brass and 4 saxophones for given 4 part sectional harmony. Discussion: brass play in close close voicing. voicing. Neithe Neitherr trumpets trumpets nor trombones trombones play play full full •   The brass chords; it is the combination of both that contains the full four part sectional harmony. •  The intervallic relation between TPT1 and TBN1 is good and consists mainly of 

imperfect consonances. imperfect consonances. The same holds for the relati relationship onship between TPT1 and TBN3. •   The range of TBN1 is now within safe limits for an amateur player: the highest

note is  a♭1 . •  The saxophones play in ’drop 2’ voicing, except at points where the lower range

limits of TS would be reached (m. 1 beat 1, m. 5 beat 2 and 3). As for the overlap between saxes and brass: AS1=TPT3, the intervallic relationship has many perfectt consonances perfec consonances (4ths and 5ths). This is no problem for this mixed instr instruumentation. 49

 

CHAPTER CHAPT ER 4. ENSE ENSEMBLE MBLE TE TECHNIQ CHNIQUES UES

TPT1 AS1 TPT2 TBN1

AS2

TBN2 TS1 BS Figure 4.8: Voicing diagram reduced big band.

Sax.

& b œ œ œ œœ œœ œ œ œœ ˙˙ Ó ?b œ œ œ œ œ œ œ œ ˙ Ó &b œ œ œ œ œ œ œ œ ˙ Ó ?b œ œ ‰ œ œ œ œ œ ˙ Ó b ?b œ œ œ œ œ œ œ œ TBNS

Brass

TBNS

G m7

Rhythm

C 13

9

Figure 4.9: Sectional harmony applied to trombones and saxophones.

This leads to an internally internally unbalanced unbalanced voicing and gets the TS into a pretty pretty low region. Applying ‘drop 2’ voicing here while keeping the AS at its current position would still cover the gaps in the brass voicing and improve the voicing within the section. ⊳

4.2.4 Comb Combining ining tromb trombones ones and saxo saxophon phones es Figure 4.9 shows Figure 4.9  shows a brief two-measure phrase with sectional harmony in both trombones and saxophones. Example 4.5: Sectional harmony in four parts; trombones and saxophones. Problem:  Assign parts to 4 trombones and 5 saxophones for given 4-part sectional harmony. Discussion: •  Both sections play 4 part sectional harmony in closed voicing.

52

 

4.3. BRASS V VOICIN OICING G FOR EXTENDED EXTENDED CHOR CHORDS DS

AS1 AS2

TBN1

TS1

TBN2

TS2

TBN3

BS

TBN4

Figure 4.10: Voicing diagram trombones and saxophones.

Figure  4.10. AS1  AS1 plays the lead voice, doubles •  The voicing diagram is shown in Figure 4.10.  by BS at the lower octave. This lead voice is too high for TBN1, and therefore TBN4 plays the lead at the lower octave, an effect used by Duke Ellington. Both sections mix very well and will yield a full sound. ⊳

4.3 Brass Brass voicing voicing for extended extended chords chords The previous section discussed a number of examples, that were based on a four part sectional tion al harmony harmony voicin voicing. g. From From here on we will extend the number number of voices voices,, but before before doing so, we will briefly touch on the aspects of  brass of  brass voicing , vertical distribution distribution voicing  , i.e., the vertical of chordal functions over the trumpet and trombone section in a big band, using extended chords (i.e., with higher chord functions such as  ♭  ♭99, ♯11, 11, 13, etc.) etc.).. Example 4.6: Voicings for brass section

trumpets and 4 trombones trombones using extended extended chords. chords. FigProblem:  Assign parts to 4 trumpets ure 4.11 ure  4.11 has  has a number of voicing examples that we will now discuss. Discussion:

Figure 4.11.aa demonstrates the voicing of the dominant 7th chords,  S 7, here F   F 77 •   Figure 4.11. and   D7♭9 . Althou Although gh the voicin voicing g in the first first measur measures es has an octave octave doublin doubling g  between TPT1 and TBN1 (good), the balance within each section is poor: the trumpets are widely spread and (most important) the trombone section does not provide a good harmonic basis, since the essential 7th function and root are missing.. The voicing missing voicing in measure measure 2 is a clear improvemen improvement. t. The TBNs now play the following chordal functions: 1, 3, 7 and 9, the TPTs play a  Dm  chord, adding the 13 to the   F 7 F 7  chor  chord. d. Also Also note the doublin doubling g of the TPT1 part in the lower lower octave: from concert f ”  f ” upward this is an essential support for the lead trumpet voice. •

  all Measures Measur es 3 al and 4 frombenefits the same example example de demonstra monstrate te another aspect . n. TheInoverover orchestr orchestral balance from from an internal intern al balance in eachaspect. section. sectio this53

 

CHAPTER CHAPT ER 4. ENSE ENSEMBLE MBLE TE TECHNIQ CHNIQUES UES

&c w ww ?c ?c w

Unbalanced

TPTS

Brass

TBNS

F7

Rhythm

&w ? ww

[*1] [*3]

TPTS

Brass

w w

[*1] [*1]

? w± w±

Rhythm

9

C

ww w

[*2]

TBNS C

[* [*3] 3]

6 / 9

w

C

±

6 / 9

wo w

w bw w w

Better

[*1] [*3]

w

E m11

ob

A 7

w

w

D7 9

F7

w w

w w

D 7

(a)

ww ww w w

[*5]

[*4]

w w

C m11

D m9

b

D7 9

w w

[*1]

ø w

D 7

ww w

[*6]

w

b

G7 9

w w

[*6]

w

[* *1 1]

w

[* *3 3]

ww b

G7 9

w

G 7alt

(b) Figure 4.11: Brass section voicings. (a): internal balance, (b): various chord types

example that is demonstrated by assigning a full seventh chord (3rd measure,  ◦ 7 to both TPTs and TBNs; the combined effect is an octotonic an  octotonic scale) scale) or full triad (4th measure, D  in TPTs and A◦  to TBNS) to each individual section. Figure  4.11. b  b shows various extended chord types (i.e., with more upper chord •   Figure 4.11. functions). A common functions). common element element to all all these these voicings voicings is, is, that that the TBNS TBNS provide provide the essential chord functions, i.e., the 3rd for the major/minor chords and 3rd plus 7th for all other chord types. At [*1] we notice the lower octave doubli doubling ng of the high lead trumpet. At [*2] the voicing of TBN3 and TBN4 will yield a difference a  difference tone,, the root  C  below the staff. At [*3] we find full triads in the trumpets. The tone trombones may play an inverted chord, as is shown at [*4]. A  cluster voicing   is demonstrated at [*5]. •  When voicing a   S 7, try to prevent assigning the perfect chordal function 5 to

the trombones. Instead, use a lowered (♯11 =   ♭5) or raised 5th (♯5 =   ♭13) in the upper voices, as is demonstrated at [*6]. ⊳

4.3.1 Domin Dominant ant seve seventh nth bito bitonal nal voic voicings ings When voicing an extended an  extended dominant 7th chord the chord  the balance of the voicing is increased by assigning a full major or minor triad to the trumpets. In total there are 12 possibilities, possibilities, of which 8 are based on the octotonic the octotonic scale and scale  and 4 are derived from an extended series of 3rds: these are shown in Figure 4.12. Figure  4.12. The  The basic chord is  C 7 and trumpet the characteristic, essential chordal functions func by tions 1,3 and ♭  ♭77 are assigned to three trombones. section creates a  bitonal a bitonal using: =⇒ The voicing 54

 

4.4. PERCU PERCUSSIV SSIVE EV VOICING OICING

&w w ? ?w C

Brass

TPTS

wb w

w w

Cm

E

w  w

wb w

E m

F

w  w

F m

w w A

w w

Am

TBNS C7

Rhythm

w

w

C7

C7

w & ?w D

Brass

TPTS

w

w

C7

(a)

wb w A

C7

w w

Gm

w

w

C7

C7

w

C7

wb w

D m

TBNS

?w

C7

Rhythm

w

C7

w

C7

w

C7

(b) Figure 4.12: Dominant Figure Dominant 7th chord chord  S 7  bitonal voicings. voicings. (a): struc structure turess based on the octotonic scale, (b): structures based on extended chords in 3rds.

the octotonic scale, •  either the octotonic scale, leading to major or minor triads on the roots C  − E♭ − F ♯ − A (the symmetric C ◦7 -chord); or extended •   or  extended chords in chords  in 3rds, leading to the major triad   D  (or its equivalent   A♭) or the minor triad Gm  (and its equivalent  D♭m ). Use the transposed versions of this diagram to find bitonal brass voicing possibilities for given lead (see the examples below).

4.4 Per Percu cussi ssive ve vo voici icing ng The  percussive voicing   is freque The percussive frequently ntly used to create a massive tutti big band sound at louder dynamics (fortissimo). Its characteristics are: Extended ed voicin voicings gs (5 and 6-part 6-part chord chord struct structur ures es are are frequ frequent) ent),, assigne assigned d to brass brass (trum(trum•   Extend pets and trombones) or the full ensemble (brass plus saxophones); •  Short phrases with irregular rhythms, many syncopations and interspersed with rests. Perfectly synchronised playing of articulations (such as   >   or ∧) and respecting the

dynamics (e.g., a sudden juxtaposition of  mp  mp  and   fff  fff ) is essential and yields an impressive effect (listen to and study the Count Basie and Thad Jones tutti choruses!). •   Functional support by support the rhythm section: section: the guitar the  guitar  and bass   willand walking frequently  bass player  player follow the rhythmic patterns in the horns (giving up the  and strumming guitar and  walking

55

 

CHAPTER CHAPT ER 4. ENSE ENSEMBLE MBLE TE TECHNIQ CHNIQUES UES

& b ˙˙ ˙ ?b ± ?b œ œ

[*1]

TPTS

Brass

TBNS

F

9

F

Rhythm

œ œœ jœ ‰ œ . ‰ œ . . œ J J œ œ œ . bœ. . bœ œJ ± J ‰ ‰ b J bb œ œœ ‰ . ‰ . œ œœ  

6

F9   F

[*3]

[*2]

A 13 9

E m11

E m7

 

A7

D m11   G 7 D m7

 

G7

. œ Œ ‰ j ˙ J œ. œ œ ˙ J Œ ‰ Jb œ œœ Œ ‰ j œ œ [*4]

13 5

F 13 9

C m11

C m7

 

F7

˙˙ œ . jœ ˙ . œ bb bb J œ œ œ œœ [*5]

B B

6 9

 

B m11   A m11 B m7  

A m7

Figure 4.13: Percussive voicing for brass.

completely),, the drummer the  drummer will  will prepare and support the articulabass  patterns almost completely) bass patterns tions (loud cymbal crashes and toms), while the piano the  piano player  player will either support the horns (copying the voicings in both hands) or plug in a few high notes during the rests in the horns. Careful voice leading leading iin n the the horns is now released: released: repeated repeated notes are now permissible permissible,, •   Careful and augmented/diminished steps or leaps may occur in the middle voices.

4.4.1 Examp Examples les of brass voic voicings ings Now we will present a number of examples of percussive voicings for brass section, i.e., 4 trumpets trump ets and 4 trombones. trombones. In the examples the lead voice voice is given, as is the basic harmony indicated in the rhythm part. Example 4.7: Percussive voicing for brass: blues scheme Problem: Determine the 8 part brass voicing for given lead voice and basic harmony. Discussion: •  The chord progression is based on an extended blues scheme, such as used in

the standard ‘Blues standard ‘Blues for Alice’, Figure  4.13. The  The overall dynamics are mf . Alice’, see Figure 4.13. chord) is voiced voiced using the various various extended •  At [*1] the opening chord  F   (tonic chord) functions 6,∆7  and 9. 9/add11

•  At [*2] there is an extended  S m7

  chord chord with the 11 in the lead. This chord chord type is used three times in the example.

•  The lead at [*3] is fairly low, leading to an impractical concert  ♮b . Therefore it is

 better to leave out the 4th part in the trumpets and double the lead trumpet. •  At[*4] we see an illustration of the avoidance of the perfect 5th function in the

trombone section, and replacing it with the  d =  d  = 6 = 13 . leading tone exact parallel chord, as is obvious obvious from the voice •   At [*5] there is a leading leading ց in all but the lead voice. ⊳

56

 

4.4. PERCU PERCUSSIV SSIVE EV VOICING OICING

b œ œ & J œ œ ? œJ b œ b ? jœ E

TPTS

Brass

[*1] [*2 [*2]]

TBNS

C7

Rhythm

[*3]

œ œ œb ˙ b. œ ∑ J J œ œ bœ b˙ œ . œ œJ œ n n ˙ J ∑ j œ œ œ œ œœ ∑ œ E m

Fm

 

E

A7

D7

 

G7   C7

D 7   C7  

Figure 4.14: Percussive voicing for brass using bitonal triads in the trumpets.

Table 4.2: Alternatives for bitonal voicing. Lead tone    Harmony   Triad in TPTs     (alternative solutions)  

g b♭ b♭ c C 7   D♭ D♭77   A7   D7   C (m)   Gm E ♭(m)   F  F ((m) E♭ B ♭(m)   F ♯ A♭ Gm E♭ B ♭m Am

b♭ g G7   C 7   B♭ B♭((m)   E♭ E♭ Gm Gm C ( m)

Example 4.8: Percussive voicing for brass: bitonal triads in the trumpets Problem: Determine the 8 part brass voicing for given lead voice and basic harmony. Discussion:

Figure  4.14 the  the voicing of the  S 7  structure yields a minor second be•  At [*1] in Figure 4.14 tween TBN1, playing playing the major 3, and TBN2, playing the altered ♯9  ♯9 =  ♭  ♭10 10. This voicing is frequently used by Thad Jones.  D♭77  chord at [*2] is an intermediary, alternating step chord. The trombone •   The  D♭

voicing stresses the exact parallel movement. •   The trumpet trumpet section voicing voicing uses full triads only, only, and uses chords chords in the key of 

E♭  only (one exception).

example is one realisatio realisation n form a set of possibilities. possibilities. The full set is given in •   The example Table 4.2 Table  4.2.. ⊳ Example 4.9: Percussive voicing for brass: use extended chords only Problem: Determine the 8 part brass voicing for given lead voice and basic harmony. Discussion:

4.15 demonstrates rates a consistent consistent block chord chord harmoni harmonisation sation of the S 7 struc•   Figure 4.15 demonst ture: the triads in the trumpets are based on extended chords. At [*1] we recognise thevoicing voicing S demonstrated in m.in1m. from Fig.  4.12. Fig. 4.12.   b, b, i.e., [*2] we  S [D/C 7] 7], at [*2] use the 2 from the same figure. [Ab/C 7] 7] as shown 57

 

CHAPTER CHAPT ER 4. ENSE ENSEMBLE MBLE TE TECHNIQ CHNIQUES UES

œ œ & œJ J œ bœ ? œJ b   n J ? jœ j TPTS

Brass

œ œ

[*1]

[*2]

TBNS

6 C 9   B 13 11 A 7alt

Rhythm

œœ œœ

œ œ œ œœ œ J J œ œ œ nœ œ n J J         b b jb œ œ œ œ œ j [*1]

 

E 13 11

[*3]

[*1]

D m11   E 13 11

[*1]

[ *1 *1]

6 A 13 11 G 13 11 C 9

w w œœœœ

Figure 4.15: Percussive voicing for brass using bitonal triads in the trumpets.

Like in the prev previo ious us exam exampl plee the the bass bass trom trombo bone ne TBN4 TBN4 pl play ayss ch chor ord d ro roots ots •   Like throughout. This gives a solid base to the percussive voicing and is frequently used. •  Although voice leading aspects can be somewhat released in this technique, a

detail should should be mentioned at regarding regarding the lead voice. At [*3] we could have used the following chord sequence for the harmonisation:   A♭7 A♭7 − D7 − G7 − C . However, the tone  a  in the lead over the  A♭  A♭77  chord has the function  ♭  ♭99, whose normal resoluti resolution on would have have been a stepwise downward downward motion. motion. In this example the lead instead instead has an upward stepwise motion a ր b♭ and forces us to look for a more appropriate harmonisation. ⊳

The previous example can be used to illustrate a procedure for the technique of percussive voicing, consisting of the following steps: 1. Assign the chord chord root root tones to TBN4; 2. For dominant dominant  S 7  chord structures assign the essential functions  3  and  ♭7  ♭ 7  to two other trombones; 3. Assign the trumpet trumpet parts for all chord types (you may use consist consistent ent triad usage for the dominant S 7  structures); 4. Complete Complete percussive percussive voicing voicing for the 4th trombone part part for dominant dominant  S 7  chords, then assign TBN1 to TBN3 parts for the other chord types. The following example deal with a  rhythmic background: rhythmi thmicc accents accents and the background: the rhy  basic harmony are pre-defined and a voicing for a 6 part brass section is to be determined. We will discuss four alternatives, using different approaches. Example 4.10: Rhythmic background for brass Problem:  Determine the 6 part brass voicing for given rhythmic accents and basic harmony. Discussion:

58

 

4.4. PERCU PERCUSSIV SSIVE EV VOICING OICING

& ‰ jœ Œ Ó Œ œ œ^œ Ó ? ‰ œJ Œ Ó Œ œ œ^ Ó ? œ ± œ œ œ œ œ œb œ TPTS

Brass

TBNS

B 7

C

Rhythm

Œ Œ

TBNS

B 7

 

[*2]

[*2]

? œ± œ œ œ œ œ

œb œ B 7

& ‰ œJ Œ Ó Œ œ œ Ó ^ œ œ œ œ œ ?‰ JŒ Ó Œ Ó ? œ ± œ œ œ œ œ œb œ TBNS

C

Rhythm

b

[*3]

TPTS

Brass

>. >œ .

^ j ‰ Œ Ó Œ & œ œ œ Ó Œ >œœ jœ >. ? ‰ œJ Œ Ó Œ œ œœ^ Ó Œ >œ J >. C

Rhythm

j J

œœœ œ A7

TPTS

Brass

>>œ œ

B 7

œ œ A7

œb

B 7

 

>. >>jœ œœ œ œ^^œ ∑ >œ . œ œ œœ œ ∑ J

j Œ ‰ œ œ >œ ˙ œœ Œ ‰ œ œ >œ ˙ J b œœ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œœ (a) ^ j œ œ .>œ >œ œœ ∑ œ . ^j Ó ‰ jœ Œ ‰ jœ Œ ‰ œœ œœ œ ˙ > > >œ . œ œ œ œ^ ∑ . œ^ Ó ‰ œ Œ ‰ œ Œ ‰ œ œœ >œ ˙ Jb J J J A7

D7

B 7

(b)

B 7

A7

B 7

Rhythm

A7

 

B 7

A7

C

D m7

 

A7

G7

[*2]

[*1]

D7

D7

TBNS

B 7

G7

œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ A7

(c) ^ & ‰ jŒ Ó Œ œ œ Ó Œ œ j . . j œ œ ? ‰ œJ Œ Ó Œ œ œ^ Ó Œ >œ œJ >. >. >œJ œ œ b ± ? œ œ œ œ œ œ œb œ œ œ œb œ œ œ œ œ C

 

D7

B 7

TPTS

Brass

D m7

‰ jœ Œ ‰ ‰ œJ Œ ‰

[*1]

. >. > œ œ J >œ . >. >œ œœ œ Jb b œ œ œ œ œ œ œœ  

^jœ Ó œJ^ Ó

B 7

Œ œ œJ >œ œ Œ J A7

. .

D m7

 

G7

A7

C

D m7

œœ

G7

 

œ^ Ó ‰ œ Œ ‰ œ Œ ‰ œ œ >œ ˙ J J J œ^ Ó ‰ œ Œ ‰ œ Œ ‰ œ  œ >œ ˙ J J J œœœœ œ œ œœ œ œœ œ œ œ œœ

œ^ ∑ œ^ ∑

. .

D7

D7

^œ ∑ œ^ ∑

D m7   G 7

C

A7

^j Ó ‰ j Œ ‰ j Œ ^ œ J Ó ‰ œJ Œ ‰ J Œ œœœœ œœ œœ œ œ œ œ D7

. .

D m7

 

G7

C

A7

D m7

 

G7

‰œ œ œ ˙ ‰ œ œ >œ ˙ œ œ œœ D7

D m7

 

G7

(d) Figure 4.16: Rhythmic Figure Rhythmic background background for brass. (a): mid-low mid-low range, diatonic extensions, extensions, (b): (b): mid-low range, all extensions, (c): mid-high range, triads in trumpets, (d): low range, basic S 7 chords only.

59

 

CHAPTER CHAPT ER 4. ENSE ENSEMBLE MBLE TE TECHNIQ CHNIQUES UES

Figure  4.16.aa demonstrates a voicing in the mid-low range using •   Solution 1  in Figure 4.16. the following approach: 1. strive toward towardss a diatonic voicing voicing in the key of   C  C -major; this will determine the selection of the chord extensions; 2. if this fails fails for the dominant dominant S 7, then use the S 7♭9  structure. •  Note in the example that the voicing in the trumpet section stays within the

interval of a 6th (a 5th is typical), yielding a cluster or triad voicing. interval between TPT1 and TPT2 is a 3rd or 4th, the dissonant int interval erval of a •   The interval 2nd is avoided. This interval does occur between TPT2 and TPT3. •  As usual, the TBNs carry the essential functions (3 and 7) of the chord structure.

Dissonant intervals of the 2nd are avoided between either pair of TBNs.  B♭♭7  in m. 4 and D  D77  in m. •  Two secondary dominant chords have been used, i.e.,  B

8. Figure  4.16.b .b demonstrates a voicing in the mid-low range using •   Solution 2  in Figure 4.16 the following approach: 1. all chord extensions are allowed allowed (release diatonic flavour requirement); requirement); 2. trumpets trumpets use cluster cluster type voicing. voicing. •  We have again respected the interval rules for the TPTs and assigned essential

chord functions to the TBNs. interval of the 2nd between two TBNs, at [*2] there is a •   Now at [*1] there is the interval sequence of two consecutive 2nds. •  Check the interval relation between TPT1 and TBN1. •  In m. 3 and m. 4, starting at [*3], there is contrary motion between (ascending)

TPTs and (descending) TPTs (descending) TBNs. This calls for a crescendo crescendo and has the effect of  leading up to climax. Figure  4.16.c .c demonstrates a voicing in the mid-high range using •  Solution 3  in Figure 4.16 the following approach: 1. all chord chord extensions extensions are allowed; allowed; 2. the trumpets trumpets are are voiced in triads; triads; 3. TBN1 TBN1 supports supports TPT in the high range range by doubling doubling the lead at the lower lower octave; •   note that again we find the interval of the 2nd between pairs of TBNs (see m. 2,

3, 6 and 8); solutions 2 and 3 sound more contemporary contemporary than solution 1; this is the effect effect of  •   solutions the non-diatonic and more dissonant chord extensions. Figure  4.16.d .d demonstrates a voicing in the low range using the •  Solution 4  in Figure 4.16 following approach: 1. Use the basic basic seventh seventh chord chord S 7 only. example will sound most conventional conventional and traditional. traditional. It is in deliberate deliberate •   This example contrast with the previous solutions. ⊳

60

 

4.4. PERCU PERCUSSIV SSIVE EV VOICING OICING

Sax.

& bb c j œ j ? bb c œ œ œ J b J & bb c j œ Jœ ? bb c œœ œ œ J b± b   J ? bb c jb œ j TPTS

Brass

Dm   B

TBNS

B B

Rhythm

13

11 A 13

G m7

œ œ

œ œ œ œ E

œ œ œ œ

b 

11 D 13

œ œ  

Gm

b

B

œ œ n

œ œ b

C m11 C m7

œ

E

œ œœ  

b

b 

11 D 13  

œ

j œ J jœ œ Jb b j

[*1]

9 / 13 13 G 7

œ j œ bœ Jb œœ j nœ œ Jb   œ j Cm   B

11 F 9   A 13 F7

. j ˙ Œ .œ ˙ Œ J . j ˙ Œ œ. œ ˙ Œ J b . j ˙ Œ Dm

G m9

B

œ . j œ . œ J b œ . j œ œ . œœ Jb œ . j B

G

Dm

C m9   B 7alt   B

6 9

w w w ww œœœœ

Figure 4.17: Percussive voicing for big band tutti.

4.4.2 Examp Examples les of ense ensemble mble voic voicings ings Now we will proceed with a number of examples for the full big band, including saxophones. Example 4.11: Percussive voicing for full big band Problem:  Determine the 8 part brass voicing plus 5 part saxophone section for given lead voice and basic harmony. Discussion:

Figure  4.17 shows  shows the solution to the problem, the intermediate harmonies are •   Figure 4.17 shown above the basic harmony. A♭7 − •  In m. 1 there are two secondary dominant chords in the sequence  B ♭ − A♭7 Gm − D♭ D♭77 − C m. As an alternative one could could have used the ascending chromatic chromatic sequence of dominant 7th chords B♭ − B 7 − C 7 − D♭ D♭77 − C m.  Cm m − D♭ D♭77 − G♭7 G♭7 − F  F 77 •  M. 2 has a sequence of intermediate secondary dominants  C (alternative options are the equivalent  C  Cm m − G7 − C 7 − F  F 77 or the neighbouring intermediate dominant chord in the sequence C  Cm m − D♭ D♭77 − C m − F  F 77). a  turnaround,, a brief chord sequence that leads from and back   ⇐= •  M. 3 and 4 contain a turnaround to the tonic chord. A classic formula formula for the turnaround turnaround is  I  − V Im I m − IIm − V  (7)  (7) − I , in this case B♭  B ♭ − Gm − C m − F  F 77, or the more interesting Dm  Dm77 − G7 − G♭7 G♭7 − F 7 F 7, using the diatonic substitute IIIm to replace the tonic chord, followed  by a sequence of secondary dominant chords. •  The trumpet section used triad voicing, as indicated by the chords above the staff.. Most of the triads staff triads are diatonic diatonic in the key of   B B ♭. Howe However ver,, at [*1] in the middle of m. 2, where the lead is in the middle range, we deviate from that principle: the e♭  is doubled by TPT3 and TPT4, while the next chord is in 4-part voicing. •  The TBNs play the essential functions of the chord, while TBN4 has the chord roots. •  The play a 5-part voicing with doublings. Higher chord functionssaxes are pre-dominantly assigned to occasional the alto saxophones (upper parts).

61

 

CHAPTER CHAPT ER 4. ENSE ENSEMBLE MBLE TE TECHNIQ CHNIQUES UES

intervals between the leads leads of the saxophone saxophone and trumpet section. section. If  •   Note the intervals the trumpet lead voice were in the middle range, there could have been unisono doubling with AS1. In that case, if these two parts have to diverge (e.g., when TPT1 goes into higher range), then create a consonant interval between TPT1 and AS1, in order to cover the change in voicing. doubles TBN4: this will create create a solid, massi massive ve effect. effect. How•   In this example BS doubles ever, a smoother voicing is created by assigning the saxophone parts working upwards from TBN3. ⊳ Example 4.12: Percussive voicing for full big band Problem:  Determine the 8 part brass voicing plus 5 part saxophone section for given lead voice and basic harmony. Discussion:

Figure  4.18 shows  shows the solution. In m. 1 we find the tonic chord  C  as basic har•   Figure 4.18 mony (the (the V Im I m  =  = Am  Am is the the di diat atoni onicc subs substi titu tute) te).. Now Now, there there is a numb number er of alte alterrnatives for harmonizing this measure and create a diatonic flavour: the example uses the fully diatonic sequence C  − Dm − Em − Am. As alternatives we might have considered considered using one intermediat intermediatee secondary secondary dominant dominant C − F  F 77 − Em − Am or C  − B 7 − Em − Am. Em 7  chord; this is a serious flaw, •  At [*1] TBN1 plays the function 9 from the   Em7

since it creates a very shrill dissonant minor 9th with the lead TPT1 in the first instance and a somewhat milder minor 7th dissonant in m. 3. •  At [*2] where the lead TPT1 is in the high range, we use triad voicing, TPT4

doubling the lead at the lower octave. •  The voicing of the saxophones is in 5-part, starting (with one exception) from

TBN3 upwar TBN3 upward. d. For a more more massiv massivee sound sound BS could could have have doubled doubled TBN4 TBN4 (playi (playing ng root chords). chords). Occasional Occasional doublings doublings in the saxophone section, section, such as at [*3], where the ♭13  ♭13  is in both AS1 and TS1, are no problem and may help in achieving a better voice leading. ⊳

Example 4.13: Saxophone voicing in big band tutti. Problem:  Determine the 5 part saxophone section voicing for given lead voice and  brass voicing. Discussion:

Figure  4.19 shows  shows three alternative saxophone voicings in this brief example, •   Figure 4.19 with the brass mainly in close block voicing. •  In general the saxophone voicing should stay within the compass of the brass

voi voicin cing, g, i.e., i.e ., AS1 below below TPT1parts and of BSthe above TBN4. TBN4. section. There Therefor fore, e, the lead lead doubling can onlystays be in the middle saxophone 62

 

4.4. PERCU PERCUSSIV SSIVE EV VOICING OICING

Sax.

& j ? œJ & j ? œœJ ? j

TPTS

Brass

C 9   D m11 C

Rhythm

 

E m9

 

œ œ

. .

œœ œœ œ œœ

œ.  œ . nœ. .

[*3]

[*2]

[*1]

TBNS

6

œ ‰ J œ œ œ œ ‰ J œ ‰ œ œ J œ ‰ bœ œ J œ ‰ J œ

œ J œ œ œ œJ œ œœ œœ œJ œ œœ œ œ œ œ J œ J œ œ œ

A m9

D m9 D m7

Am

G 7alt

 

G7

 

 

[*2]

[*1]

F 13

E m11 E m7

 

J Œ ‰ œ J Œ ‰ œ Œ ‰ J nœ J Œ ‰ j Œ ‰ A 7alt

 

 

A7

. jÓ . œ J Ó . œ Ó J . bœ Ó J J œ œœ Ó

j œ J œ J œ J

[*2]

D m9

G 7alt

D m7

G7

 

Figure 4.18: Percussive voicing for big band tutti.

&b j œ J œ ? b J œ œJ & b œj œ J ? b œJ œ œJ ± b  ?b J œ J [*1]

Sax.

 

[*2]

TPTS

Brass

TBNS

F

Rhythm

13

11 E 9

D 7alt

j œ œ œ Jœ œ œœ J œ œ œ J   b ± b œ œ J œ J œ j œ œ J œj œ œ œ J

œ œ œ œ œ œ œ œ  

D7

9

F

13

11 E 9

D 7alt

j œ œ J jœ œ œ œ J

jœ œœ œ œJ œ œœ J œ œ œ J   b ± b œœ œ J œ œ J œ œ œ

[*3]

 

D7

9

F

13

11 E 9

D 7alt

 

œ œ œœ œ œb œ

D7

9

Figure 4.19: Saxophone voicing in big band tutti.

63

 

CHAPTER CHAPT ER 4. ENSE ENSEMBLE MBLE TE TECHNIQ CHNIQUES UES

Sax.

&b ˙ ?b ˙

œ œ œ œ œ œ

F

Brass

B

A

&b ˙ œ œ œ . œ œ œ nœ . ?b ˙   b  œ œ ?b œ œ J œ j œ TPTS

TBNS

A 7alt

Rhythm

b

j Ó ‰ œ œ œœ . j Ó J œ Ó ‰ œJ œ œ œ œ . œ Ó J J

. .

 

11 D 7alt E 13

G 13

11

D

Dm   C

F

œJ Ó ‰ œJ œ œ œ œ œ . œj Ó œ Ó ‰ œ œ œ œ œ œ. œ Ó J J  J  b  œœ Ó ‰ J œ J œ J œ œœ Ó C 13

11

11 D 7alt F 13   E 7alt   E 13

G m11

 

C 13

11

Figure 4.20: Percussive voicing for big band tutti.

•  Solution 1  demonstrates what happens when TPT1 is doubled at the lower oc-

tave by AS1 lead, and two octaves below by BS. We see a problem at [*1] where the saxophones go below TBNs. This creates a muddled sound. At [*2] the BS does double the this lead:is instead it takes care of the chordal functi function on 3 (the f ♯) in thenot lower octave; a sudden change in the voicing. doubling TBN4, playing chord chord roots. In order to achieve achieve a •  Solution 2  has BS doubling good voice leading leading in AS1, that will still stick out audibly audibly in the ensemble ensemble voicing, we creat created ed the accept acceptabl ablee doub doublin ling g of the 7 at [*3]. [*3]. This This is a better better altern alternati ative ve to the first solution and will yield an internal sound balance in the saxophone section. •   Solution 3  is based on neither lead doubling by AS1, nor root doubling by BS.

From the brass voicing we select 5 functions from the chords and assign them to the saxophone parts, still trying to maintain an acceptable AS1 lead voice. ⊳

Example 4.14: Percussive voicing for full big band Problem:  Determine the 8 part brass voicing plus 5 part saxophone section for given lead voice and basic harmony: maximize diatonic flavour by using appropriate voicing for the trumpets. Discussion:

Figure  4.20 shows  shows the solution to the problem. The high lead trumpet requires •   Figure 4.20 many triad triad voicings. voicings. Most of these triads are diatonic diatonic or altered altered (see (see m. 2) chords chords in the key of  F   F ; this will contribute to the unity of sound. •  TBN voicing is straightforward, using the principles illustrated in previous ex-

amples. •  In the saxophone voicing the BS is doubling chord roots and AS1 supports the

lead at the lower octave. ⊳

64

 

4.4. PERCU PERCUSSIV SSIVE EV VOICING OICING

Sax.

& bbb Œ ˙ œœ œ . j Œ ‰ jœ ? bbb Œ ˙ œ . œ Œ ‰ œJ J & bbb Œ ˙ œœ . œJ Œ ‰ œJ . œ œ ? bbb Œ ˙ œ Œ ‰ J   Jb b± ? bbb œ œ œ œ œ œ œ Œ ‰ J TPTS

Brass

TBNS

E

Rhythm

13

C m11

F 13

11

B 13

 

D 13

‰ œœ ‰ œœ œœ œœ Œ ˙˙ œ ‰œ ‰ œ œ œ Œ˙ œ ‰œ ‰ œ œ œ œ ‰b ‰ œ b

œœ Œ ˙ œ Œ˙ . b b    ‰ œ ‰ œ œ œœ œ œ E 13

 

D 13   D 13 11

C 9 11

F 13

œ œ œb œœœ

 

B 13

Figure 4.21: Percussive voicing for big band tutti.

Example 4.15: Percussive voicing for full big band Problem:  Determine the 8 part brass voicing plus 5 part saxophone section for given lead voice and basic harmony. Discussion:

Figure  4.21 is  is fairly straightforward and another illustration of the voicing as•   Figure 4.21 pects discussed before. harmonisation uses a number number of intermediat intermediatee secondary dominant chords chords •   The harmonisation (m. 2 and 4) and exact parallel chromatic leading chords (m. 3). •  High trumpet lead requires support at the lower octave as provided by triad

voicing; at middle range a 4-part voicing is applied. the  rhythmic anticipation in •  TBN4 plays chord roots. Note the rhythmic anticipation in the last measure, creating a slight touch of counterpoint and sense of independency in this overall homophonic homophon ic setting. Note the sequence of major 2nd intervals intervals between TBN1 and TBN2 in m. 2 and 3. voicing once again we see the BS doublin doubling g TBN4 and the frefre•   In the saxophone voicing quent support quent support for the lead trumpet trumpet by AS1. At two instances instances (the  B♭ B♭77  chord in m. 2 and m. 4) there is a 4-part voicing, AS1 and BS doubling the root at the double octave (very wide voicing).   dynamics.  fff  f  dynamics. •  The overall sound will be massive at loud  ff ⊳

Example 4.16: Ensemble voicing for intermediate size big band. Problem:  Determine the 6 part brass and 4 part saxophone voicing for given lead voice and basic harmony; create a bitonal flavour. Discussion: •   The phras e is inathe key of diatonic will.consider two alternative bitonal solu E♭  E ♭ and we tions,phrase creating different different flavour. flavour

65

 

CHAPTER CHAPT ER 4. ENSE ENSEMBLE MBLE TE TECHNIQ CHNIQUES UES

Sax.

^ & bbb ˙ œ œ ‰ ? bbb ˙ œ œ^ ‰ & bbb ˙ œ œ ‰ ? bbb ˙ œ œ^ ‰ ? bbb œ b œ œ œ

œ ˙ >œ ˙ >œ ˙˙ >œ ˙

TPTS

Brass

TBNS

F7

E

Rhythm

Sax.

 

[*3]

œ ‰ø

B 7

b

D 7

^ & bb b ˙ œ œ ‰ œ ˙ ? bbb ˙ œ œ^ ‰ >œ ˙ & bbb ˙ œ œ^ ‰ >œ ˙˙ ^ > ? bbb ˙ œ œœ ‰ œ ˙ b ø b ? bb b œ œ œ œ œ ‰ j œ TPTS

Brass

TBNS

F7

E

Rhythm

 

B 7

D 7

^ Œ œ œŒ ^ Œ œ œŒ Œ œ œ^ Œ ^ Œ œ œŒ

‰ j˙ > ‰J ˙ ‰J ˙ >œ ˙ ‰J j œ œ œ œ œ œ œ œ ‰b j œ œb œ ‰ . œ œ^ Œ >. œ œ ‰ Œ ‰ . œœ œ^œ Œ >. ‰ œœŒ

[*1]

G7

C m7

‰ . œ œŒ >. ‰ œ œ^ Œ ‰ >. œœ œ^œ Œ >. œ œ ‰ Œ [*4]

[*5]

 

F7

Œ œ Œ œ Œ œ Œ œ [*5]

B m7

(a)

^ œŒ œ^ Œ œŒ œ^ Œ

 

C m7

 

F7

[*5]

b

B m7

 

F    a  l    l   

[*2]

F     a  l     l    

 

 

F     a    l     l    

 

F    a  l    l   

[*1]

A

‰ j˙ > ‰ J ˙ ‰ J ˙ > ˙ ‰ J

œ œ œ œ œ œ œ‰ jœ

G7

E 7

Œœ . ‰‰ Œœ . ‰‰ Œœ . ‰‰ >œ . Œ ‰‰ Œ b >œ œ œ œ ‰

G m7

^ œ >œ œ œ œ œœ œ œ œ

∑

œœ œ œ œ œ œ^ œ œ œ œ œ œ^

∑

œ œ

œ œ œ œ œb œb

∑

^ œœ œ œœ œ >œ œ œ œ œ œœ œœ œ œ^ œ >œ œ œ œ

∑

 

C7

F    a  l  l  

F  a  l  l  

 

F    a  l    l   

 

F  a ll     l  

 

G7

 

E 7

A

G m7

∑

G7

Œ œ . ‰‰ œ Œ œ . ‰‰ œ Œ œ . ‰‰ œ œ . œ Œ œ ‰‰ b b> œ œ Œ œ œ œœ ‰ œ  

∑

 

 

F m7   B 7  E

b b

œœ œ œœ C7

 

F m7   B 7  E

∑ ∑ ∑ ∑

(b) Figure 4.22: Bitonal ensemble Figure ensemble voicing voicing for intermediate intermediate size size big band. (a): trump trumpets ets in  B  B♭♭, (b): trumpets in  A♭

66

 

4.4. PERCU PERCUSSIV SSIVE EV VOICING OICING

B♭ 7, •  In both solutions the basic chord   D∅7  is replaced by the substitute chord   B♭7

which has more options for adding chord chord extensions. Also there are are two secondary dominant chords, F 7  F 7 in m. 1 and  G7  G7 in m. 6. marks and an expre expressi ssion on sign, sign, the  the   fall •   This example also shows  articulation   marks (downward, glissando or portamento) in m. 5. •  The TPTs play triad voicing when the lead is high and cluster voicing for mid-

or low-range lead; in that case the dissonant 2nd interval is between TPT2 and TPT3, while between TPT1 and TPT2 there is a consonant 3rd. Figure 4.22.aa demonstrates a trumpet diatonic voicing in  B •  Solution 1  in Figure 4.22.  B♭♭, with a  Lydian mode (increasing mode  (increasing the number of sharps) flavour. 1. At [*1] [*1] ther theree is a very very open open TBN TBN voic voicin ing. g. The The ga gap p is fil fille led d by the saxop saxopho hones nes.. 2. At [*2] we encounter another another example example of the frequentl frequently y used voicing of the saxophones in 4ths. 3. We see dissonant dissonant interva intervals ls of the 2nd between between TBN2 TBN2 and TBN3 in m. 1, with the functions functions 9 below 3 in  F   F 77  and 13 below ♭7  ♭7  in  B  B♭♭7. 4. Check the intervals intervals between between TPT1 and TBN1 (in octaves when the lead is high) and between TPT1 and AS1 (consonances preferred, no interval of the 2nd). 5. The saxophones saxophones are interleaved interleaved with the brass, i.e., never below TBN3 or above TPT1. Figure  4.22. b  b demonstrates a trumpet diatonic voicing in  A♭, with •  Solution 2 in Figure 4.22. a  Mixo-Lydian mode (increased mode (increased number of flattened notes) flavour. 1. At [*4] the saxophones use an acceptable cluster cluster voicing. 2. Again there there is a number number of 2nds in the TBNs at [*5], with the functions functions  ♭  ♭99  below 3 in G  G77  and  F   F 77  and 13 below ♭7  ♭7 in  E♭  E ♭7. 3. In m. 4-5 the TBNs are in close voicing in the middle range range;; in order order to increa crease se sup suppo port rt for for the the trum trumpe pets ts the lo lowe west st saxo saxopho phone ne (in (in this this case case pref prefer erab ably ly BS) plays below TBN3, doubling TBN1 at the lower octave. solution we find chord chord roots in the horns; combined combined with the walking the  walking •   In neither solution bass pattern this will yield the impression of a rhythmic background instead of a bass pattern massive tutti special tutti special chorus. chorus. ⊳

67

 

Bibliography [1] Alfred Alfred Blatter Blatter.   Instrumentation and Orchestrat Orchestration ion.. Wadswort adsworth/T h/Thoms homson on Learn Learning ing,, Schirmer Schir mer,, Belmont, CA, second edition, edition, 1997. ISBN 0-00-020-00-02-82-86 82-864570-70 4570-70-7. -7. xix + 508 pp. [2] Gordon Gordon Delamont. Delamont.  Modern Arranging Technique. Technique. Moder Modern n Arranging Arranging and Composing. Composing. Kendor Music Inc., Delevan, NY, 1965. iv + 239 pp. [3] Frans Elsen. Jazz arranging course. Technical report, Royal Netherlands Conservatory, Conservatory, The Hague, 1983. (in Dutch, unpublished lecture notes). [4] Russell Garcia. Garcia.  The Professional Arranger Composer (Book II), II) , volume 2. Criterion Music Corporation, Hollywood, CA, 1979. iv + 91 pp. [5] Kent Kennan Kennan and Donald Grantham. Grantham.  The Technique of Orchestration. Prenticetice-Hall Hall Inc, Inc, Orchestration. Pren Upper Saddle River, NJ, fifth edition, 1997. ISBN 0-13-466327-6. xiv + 411 pp. [6] Henri Henri Mancin Mancini. i.   Sounds Sounds & Score Scores: s: a Practi Practical cal Guide Guide to Profes Professio sional nal Orchest Orchestrat ration ion.. Northridge Music Inc., USA, 1986. ISBN 0-89898-667-2. x + 243 pp. [7] Norman Del Del Mar. Mar.  Anatomy of the Orchestra. Orchestra. Faber & Faber, London, 1983. ISBN 0-57113185-9. 528 pp. [8] Sammy Nestico. Nestico. The  The Complete Arranger. Arranger. Kendor Music, Inc., Delevan, NY, 1993. x +340 pp. [9] Ken Rattenbury. Rattenbury.  Duke Ellington: Jazz Composer. Composer. Yale University Press, New Haven and London, 1990. 1990. ISBN 0-300-055 0-300-05507-2. 07-2. xii + 327 pp. [10] Nelson Riddle. Riddle.   Arranged by Nelson Riddle. Bros. Publications Publications Inc., Miami, FL, Riddle. Warner Bros. 1985. ISBN 486-212 486-21266. 66. 200 pp. [11] William illiam Russo.   Composing Unive iversi rsity ty of Chicag Chicago o Press, Press, Composing for the Jazz Orchest Orchestra ra.. The Un Chicago Chic ago & London, 1961. ISBN 0-226-73 0-226-73209-6 209-6.. vi + 90 pp. [12] William illiam Russo.   Jazz Composition and Orchestration. University sity of Ch Chica icago go Press, Press, Orchestration. The Univer Chicago Chic ago & London, 1968. ISBN 0-226-73 0-226-73213-4 213-4.. xvii + 825 pp. [13] Joseph Schillinger Schillinger..  The Schillinger System of Musical Composition, Composition, volume I and II of  Da  Da Capo Pr Press, ess, York, fourth fourth edition, edition, 1946. ISBN Capo Press Music Series. Da Series. 0-306-77521-2 andReprint 0-306-77522-0. xxiii + 1640 pp.New York, 68

 

BIBLIOGRAPHY

[14] Gunther Schuller. Schuller.  Early Jazz: Its Roots and Musical Development, Development, volume 1 of  The  The History of Jazz. Jazz. Oxford University Press, New York, Oxford, 1968. ISBN 0-19-504043-0. xii + 401 pp. [15]  History Guntherof Schuller. Schuller .   TheUniversity , volume 2 of  The Swing Era:Press, The Developme Devel nt of Jazz 1930-1 193 0-1945 945,  The Newopment York, Oxford, 1989. ISBN 0-19-507140-9. Jazz. Jazz. Oxford xviii + 919 pp. [16] Don Sebesky. Sebesky.  The Contemporary Arranger. Alfred Publishing Publishing Co., Inc., Van Van Nuys, CA, Arranger. Alfred definite defini te edition, edition, 1994. ISBN 0-882840-88284-485-7 485-7.. xv + 237 pp. [17] Fred Sturm. Sturm.  Changes Over Time: The Evolution of Jazz Arranging. Arranging . Advance Music, USA, 1995. ISBN 0-89898-667-2. 222 pp. (Order # 11350). [18] Walter van der Leur. Leur.  Something to Live For: The Music of Billy Strayhorn. Strayhorn . Oxford University Press, New York, Oxford, 2002. ISBN 0-19-512448-0. xxiii + 328 pp.

69

 

Index altered dominant chord, 27 chord, 27 appoggiatura, 23, appoggiatura,  23, 25  25  big band, 1, band,  1, 33  33,, 37, 44,  37,  44, 45  45,, 47, 61  47,  61  bitonal voicing, 54, voicing,  54, 57  57,, 65  brass voicing, 53 voicing,  53 chordal functions, 11 functions, 11,, 27, 53  27,  53 chords in 4ths, 33 4ths, 33,, 37, 67  37,  67 classical harmony, harmony, 25 close voicing, 20, voicing,  20, 45  45 38, 45 cluster voicing, voicing, 33,  33, 38,  45,, 54 cross relation, 10 relation, 10 diatonic parallel structures, 19, structures, 19, 28  28,, 38 diminished chord, 7 chord, 7 dominant chord altered, 27 altered,  27 extended, 27 extended,  27 drop 2 voicing, 4 voicing,  4,, 20, 34  20,  34 ensemble technique, 3, technique, 3, 44  44 ensemble technique fundamental aspects, 44 aspects, 44 intervals between outer voices, 45 voices,  45 voicing diagram, 45 diagram, 45 exact parallel chords, 9, chords, 9, 12,  12, 41  41,, 56, 65  56,  65 extended chord structure, 7, structure, 7, 8,  8, 27,  27, 53  53,, 54 extended four part sectional harmony, 33 harmony,  33 functional harmony, harmony, 3,  3, 5  5 half-diminished chord, 11, chord, 11, 14  14 harmony classical, 25 classical,  25 functional, 3 functional,  3,, 5 modal, 3 modal,  3,, 20

leading tone chord, 9 chord, 9 mixed voicing, 34 voicing, 34,, 52 modal harmony, harmony, 3,  3 , 20 octotonic scale, 54 scale, 54 open voicing, 35, voicing, 35, 45  45 percussive voicing, 1 voicing, 1,, 55 repeated notes, 4 notes, 4,, 38,  38, 47,  47, 56  56 rhythmic anticipation, 65 anticipation, 65 secondary dominant chord,   5,   6,   11, 11,   17,   41, 46, 61 46,  61 sectional harmony, harmony, 1, 3,  1,  3, 33,  33, 46  46 sectional harmony aiming chord, 5 chord, 5,, 10  basic rules, 3 rules,  3 chordal tones, 5 tones, 5 extended four part, 33 part,  33 five parts, 33 parts, 33 four parts, 3, parts, 3, 46  46 instrumental aspects, 23 aspects, 23 instrumentation, 25 instrumentation,  25 lead voice, 3 voice, 3 non-chordal tones, 7, tones, 7, 9,  9, 17  17 non-diatonic tones, 9, tones, 9, 11  11 other aspects, 19 aspects, 19 repeated notes, 4 notes, 4,, 5,  5, 12,  12, 17 special chorus, 33, chorus, 33, 44,  44, 67  67 string section, 45 section, 45 subdominant chord, 17 chord, 17 substitute chord, 10 chord, 10––12, 12, 14  14,, 19,  19, 61,  61, 62  62 swing, 8 swing,  8 syncopations, 8 syncopations,  8,, 14

instrumentation, 23, instrumentation,  23, 25,  25, 44  44,, 47

tritone, 20,, 29 tritone, 20 turnaround, 61 turnaround,  61

lead voice, 1, voice, 1, 44  44,, 53

voicing 70

 

INDEX

 bitonal, 54,, 57, 65  bitonal, 54  57,  65 change of, 23 of, 23 close, 4, close,  4, 20,  20, 45  45 cluster, 45 cluster,  45,, 54 drop 2, 20 2, 20,, 34 in 4ths, 33 4ths, 33 mixed, 34, mixed,  34, 52  52 open, 24, open,  24, 35  35,, 45 percussive, 55 percussive,  55 voicing diagram, 45 diagram, 45 voicing techniques, 1 techniques, 1 walking bass, 56, bass, 56, 67  67 woodwind section, 37 section, 37,, 45

71