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CHAPTER

TWO:

THE SMALL GROUP

The small

group is a

self-contained

ensemble,

usually

with

one

to three

leads

(horns,

synthesizers,

tc.)

and rhythm

(tfuee

or

more).

Over

the years,

the majority

of

great

jazz

sorllrlds

have emanated

from the small

group. Most often, the small

group

features a

combination of

sounds.

Small

group

sounds

play a

vital role

within the orchestrationof larger jazz ensemblemusic, and small group is also the

most frequent

scoring choice

or good

and aggressive ocal backing

charts.

Writing creatively

for the

small group

is

as challenging

as any music

writing can be.

This

ensemble

s

totally transparent:

orchestration

cannot

hide

problems

that

exist.

Lastly, writing

for the small group

makes efficient

use

of

learning time:

there

is

only

a fraction

of

the

copywork

and other logistics

associated

with

learning to

write

STEPONE:

FORMSAND LAYOUT

1A:SONGFORMS

this

page)

lB: LAYING

OUT A

CHART

(page

5)

lC:

WORKING

THE TUNE

(page

6)

Song forms

are the structures on which most of

music is built.

Chapter

Two will

focus

only

on

two

(AABA

and ABAB) and how they impact upon the process

of

arranging. Stay

with these two forms

at

first:

they are most

easily

understood,

thus

freeing

more

of

your creativity

for

profitable

application.

Appendix

I

contains

a

list

of standards,

both

older

and

contemporary,

grouped

according o song form.

THE ABAB SONGFORM contains

wo eight-bar

periods

(AB)

that

repeat o

complete

he song

form.

(AB-AB)

In the typical

32-bar

song, each

AB section s 16

bars

long. As the music passes

rom A into B,

the

emotional

level

(contour)

should

rise. This usually occurs

within the

tune. If not, the arranger should

make

a change

to accommodate he

form.

(An

increase n orchestration

or in

rhythm

section)

A}.TSWEN.ING REUSEORIGINAL AIISWEn,ENDING

Important: before the second

period

(B)

can effectively

contrast or

answer the

first

period

(A),

music in

the A section

must feel like it

has been

developed

at

least

once.

Listen to the

headsof Black

Orpheus and Devil's

Island

(listening

tape) and watch

their lead

sheets

Appendix

7). Answering and contouring occurs

within

the tune

itself;

n

both

cases,

he chart

wrote

itself.



Form

and Layout

The

contour

of an ABAB

song

looks

like

this:

The dotted line

rePresents

he

level of

interest

(tension,

energy)

already built

into

the tune.

---

TheAABA

soNGFoRM

operates

ifferentlyrom r The

irst wo

periods

re

virtually the same,except

or their cadences. his sets up the

need for a

contrasting

section,called the bridge. Here, the arrangermust decidehow to provide a senseof

departure

for the contrasting

bridge.

Listen to Skylark

and to You Don't

Know What

Love

Is

(listening

tape) and watch

their charts

(Appendix

7) In both tunes, the A section will

have a feeling

of

development

before

reaching

the cadence.

This is a must; it is the arranger's

responsibility.

The contour of

an AABA song looks like this:

AAB

The

feeling

of

departure is usually

caused

by changesboth in the

range and

the

characterof

the melody itself.

.

The bridge melody may go

higher

(as

n

Skylark) or

lower

(as

n Down In The

Depths). SeeAppendix

7.

.

Or

the departure

may be very

subtle,

as in Black Nile

(Appendix

7). The melody

line is chorded to strengthen the contrast, the feeling of departure.

Hnutd.l af



Form and

Layout

OUTER

FORM

(THE

EXTERNAL

FORM)

Song

orms

describe

he

structure

of

mo-re

han

just

the

tune.

An

arrangement

has

form

of

its

own.

The

outer

form

shows

.hory

the

larger

sections

of a

complete

arrangement

relate

to

each

other.

In

a

simple

head

fhart,

the

tune

itself

(first

and

last

playing)

are

represented

as

"A",

the

soios

as

,,8,,.

The

outer

form,

is

,,ABA,,.

A

q9o{

arrangement

will

introduce

the tune,

develop

it

(in

various

ways)

and

bring

it back

briefly

at

the

end. (This

same

outline

is quite

common

in

classical

symphonic

music:

exposition

-

development

-

recipitulation.)

Inrnost jazzcharts,thetuneitselfusua1lyoccurs@.

solos,

solis,

and

other

developments,

ociupy

the

B

section.

see

the

following

section,

and

also

Appendix

6.1

Layout.

A

LAYING

OUT

A

CHART.

You

must

first

answer

this

important

question:

How

much

clock

time

should

be

taken

,rp

i.

the

performunce

of

the

chart?

l-e1sth

of the

tune,

best

tempo,

etc.,

together

determine

the

elapsed

time

for

each

.li'orr,s

of play.

The

deal

clock-length

or

a

chart

is

influenced

by

these

actors:

1) The length of the original

material

helps

determine

the

overall

length

of

a

chart'

Longer

tunes

can

survive

long&

arrangements.

Shorter

tunes

should

not

last

as long.

2)

The

application

of an

arrangement

also

influences

ts

best

length.

'

Performances

hat

include

the

lyric

are

usually

shorter

than

those

that

are

purely

instrumental.

A

lyric

tune

can

susiain

only

so much

musical

.

In this

case,

he

arranger

must

specifically

determine

the

length

of the

chart,

and

write

it accorlingly.

L

J

'

Performances

hat

are

purely intrumental can be sustained onger, if

the

solos

t"lu.-

interesting

and

vital.

In

this,

the

compor",

oi

arranger

writes

a

qogd

he_ad

hart

(with

introduction

and

optional

endings),

eXving

the

overall

length

up

to

the

performers.

'

Head

charts

(above)

hat

are

sure

to take

extreme

clock

time

should

also

include

written

transitions

that

can

be

inserted

between

solos

from

time

to

time

to

break

ug

lhe

unending

rhythm

groove.

The

players

themselves

will

provide

some

of the

relief

through

changes

n

rhythm

texture

during

solos.

DEVEI'PMENT

.

SOI'S,

SOUS.

pg

45



Form

and

Layout

WORKING

THE TUNE

"Working

the

fune" refers

to

a process

of experimentation,

and

usually

involves

the

piano. During

this time,

ideas are

worked

out against

the

framework

of the

tutre

being arranged.

lhis

process

s indispensable

n

both

composing

and arranging,

and

does

not

need to

bgin

tempo.

(Rubato

experimentation

w-orks

dut ideas

thit

y"ou are

beginning

to hear.)

1.

Play

the cadences.

what

happens

when

you

substitute

cadences?

2.

Isolate the ii-V

progressions.

What

happens

when

they

sequence

where

they

shouldn't?

What

happens

when ii-V

progressions

are

placed

over a pedal

point?

3. Find

the sequences

and

other imitations).

Can

you

carry these

nto new

ideas?

4.

Improvise

with

the

non-harmonic

leaps.

Push

them

farther

than they

are

written.

Do

the

results

suggest

other developmental

deas?

5. Createan interesting

pattern

in the

rhythm

accompaniment.

Can you

maintain

the

groove

against

the

tune?

6. Find

the keynotes

in

your

tune.

(See

age 42.)

Improvise

melodic

ideas

on

the changes

hat

move

around

the keynotes.

The

Keynotes

of

a

tune

are

the

notes that

form

the

structure

on

which

the tune

is

built.

All good

tunes

may

be

reduced

to the

outline

of their

keymotes.

In

much

of the standard

repertoire,

the

strong interval relationshipsof 2nd, 3rd,7th,

9th,

etc.

connect

he

kelmotes

and the

fundamental

bass.

Intervals

of

5th and

8ve are

weaker,

Tore

commonly

found

in

cadence

areas,

where

the

energy levels

dlop

anywfY,

and

in

modal

or pentatonic

music,

where

a

lower

energy

le-vel

s

idiomaticallv

correct.

'

Keynotes

provide

a

structure

around

which

the

writer

can add

or

change melodic

material

without

compromising

the

tune.

pg46



Form

and

Layout

KEYNOTES

alone

are found

on

this

leadsheet

of

'Just

Friends."

The standard

changes

appear

above

the

tune.

Alternatives

appear below,

on

the

bass

staff.

Notice how

much

easier

t

is to visualize the

reharmonization,

when only

the

keynotes

are present.

It becomes

much

easier

o concentrateon the

interval

relationships

between the melody

(keynote)

and

the bass

of

the changes.

. KEYNOTES AGAINST FUNDAMENTAL BASS s the critical two-part

relationship

that

influences the

"right"

and

"wrong"

choices o be made when

reharmoniztng

a

tune.

(See

Step

3, this chapter.)

Cma17

Lm/

Em7

Ag

G

ma17I

A5

AM?

D9

4t,h 6th

8ve

I

31

pg47



Form

and Layout

SKETCHING

THE

LARGER

GROUP

Sketching

efers

to the

process

of

outlining

an

idea, to

be filled

in and

developed

later.

To

sketch

music

is to

write

the

most

important ideas

down

as

they

occur,

without

allowing

thoughts of

orchestration

to

impede

the

flow.

Vertical thoughts

(chords,

voicings,

etc.)

may be

noted non-musically

(abbreviations,

shorthand,

rhythms,

etc.).

-

Melodies

and chord

symbols,,when

accompanied

by

this system

of

personal shorthand, may quickly capture the beginnTry of a chart. Detail,

-orchestration,

and

fine-tuned

development

may be

addressed

after the

linear

structure

of

a

chart

begins

to

take

on shape.

SKETCHING

IS

ALWAYS

IN CONCERT

KEY.

pg 48



Melody-2

STEP

TWO:

MELODIC DEVELOPMENT

ADDING

NOTESTO

TI{E MELODY

CONTRAPUNTAL

LINES

(page

6)

In most arrangements, he

original melody

is

developed

n

some

way.

No tune has

been written that fits every style without adjustment of some variety.

Developmentoccurs when

a melody

is treated

one of three ways:

.

The rhythm

of

a melody

may be

changed

or the

sake

of style.

(page

19)

.

Notes may be added

to the

melody.

(this

page)

.

The melody itself

may

be changed.

(Compositional:

page 52.)

2A ADDING

NOTES

TO

THE

MELODY

A melody line may need

to have additional

notes

(or

rhythms) added when the

tempo increases r when

the

style

is more

rhythmic.

(latin,

funk, etc.) When

this

occurs/ he keynote structure itself

should not be altered.

(page

47)

Adding notes to a melody

is made easy hrough the

use

of

non-harmonic

shapes.

(so

named after LTth

century non-harmonic

tones) Added notes do not disrupt a

tune when they maintain

a

stepwise

relationship

to the

original.

This is

the

logic

of

non-harmonic

shapes.

Nowadays, we don't think

of

"non-harmonics"

as

dissonant.

It

is the

shapesof

thesedevices hat are important. By adding notes according to theseshapes,we

leave

he basic message

f

a melody intact.

THE NON-HARMONTC

SHAPESMOST

COMMON

TO

JAZZ.

2A

2B

PassingTone

(stepwise

movement)

Auxiliaries

(neighboring tones)

Appoggiatura

(jump

then

step)

EscapeNote

(step

then

jump)



Adding

notes

to a melody increases

ts

interest

at

different

levels.

1st level: embellishing the

melody.

(lowest

level

of

increase)

.

Add notes to

provide a lift in the energy

evel of a

phrase. When the

added

notes conform to

non-harmonic

patterns,

they

act

like embellishments.

The

choice of

embellishment

depends on the selection

of

horns

(or

leads)

Different

instruments sound best on different embellishments. Listen and imitate.)

original

developed

.

Add notes to

combine two four bar phrases

nto

one

eight

bar

phrase.

*

original

developed

Add notes and increase

he activity,

to

provide a

strong boost

in

energy

level

at the

end

of a

section.

(Add

some arpeggiation

to the non-harmonic

shapes.)

(The

broken

chords facilitates he

rise

in

meiodic activity.)

original

adjusted

o's'5,o'rJ4 tae

added

notes



MelodY-2

2nd

level:

adding

notes

to

the

keynote

structure

.

When

the energy

evel

has

already

been

raised.

faster empo'-change

of

key'

etc.)

melodic

d"evelopment

must

be

more

flamboyant

to

be

effective'

The

success

f

adding

to a

melody

at

a higher

energy

evel

depends

upon

moving

farther

"*"y"fro^

the

tune,

but

without

altering

the

keynotes'

Keynotes

at

the start

of

Just

Friends

Added

notes

anchored

to

the

keynotes.

Keynotes

and

first

changes.

New

line:

NH

shapes

and

broken

chords

added

o

keynotes.

At

a still

higher

energy

level,

broken

chords

added

to

the

keynote

structure

may

outlinJ

the

"*i"i"io"s

(and/or

alterations)

ound

in

the

chord

changes'

(Thesenew

notes

*uy

be

added

before

or

after

a

kelmote')

The

resulting

melody

begins

to

sound

like

a

new

tune,

so

it must

also

be

developed

through

the

use

of

iepeats,

answers,

seguences

nd

other

such

devices.

ncQItt

o/t

Two

comm

on

iazzernbellishments

may

be

notated

with

symbols'

wfuttfar)

Sgt/uilt'J.6

-

L.

2.

pg

51



Melody-2

3rd level:

compositional.

The melody

itself may be

changed

or

a

few

bars.

In

the

arrangement

of an

AABA tune,

development

of the

first two

A sections

may

be

so

complete

that a third

use

(after

the

bridge) would

be detrimental.

In this

case,

new

material

should

be

written

to

replace

he first four

bars of the

3rd

A

section.

From

that

point,

at

least

bar

five of the

original

tune

should

be

used

before

the

tune

is

allowed to

cadence.

This

new material

should

contrast

the

original, but

remain true to

the keynotes

In

the following

example,bars

1-4

of

the

last

eight bars

are replaced

with

a more

aggressive

melody

written

around

the keynotes,

and

even

using the

tune itself

"YOU

DON'T

KNOW

WHAT LOVE

IS"

(Last

"A"

-

see

Appendix

7.)

.d-fiil.\

DEI'ETIPMES?

ON.TGIIIAL

ADDSACNVITT.

PEUSE

OP

EROKEN

FOP

CONTINUITY

Important

guidelines:

'

Development

of an

existing

melody

by adding

or deleting

notes

should

not

alter

the keynote

structure

of

the

tune.

'

Different

developmental

techniques ncrease

he

energy levels

of the tune in

different

amounts.

More

aggressive

development

should

be

saved for later

in

the arrangement,

when

the rhythm

or harmonic

energy is also

on the rise.

pE

52



Melody-2

28 CONTRAPUNTAL

LINES

Adding

a second

ine

against

the

melody

can

enhance

he overall

arrangement.

Counterpoint

is

simply the act of moving

one

line

against another.

For

the counterpoint

to be

effective,

and non-competitive,

the

second ine

must be

subordinate o the

first.

That is, the

first

line must remain

the primary

melody;

the

second added) ine must move well against t, but remain a secondary ine.

Good

secondary

ines have two

characteristics

n

common:

1) Their rests or

sustained

notes

are

a

little too

long;

they

breathe too well.

2)

A note or rhythm is reused a

little

too much for the line

to sound

good

as

a

primary melody. In low

energy

settings, he

note

is

in

the

middle

or

at

the

bottom;

in

higher

energy settings,

his note

can be

the

upper threshold.

Secondary

Primary and

Fund.

Bass

n +lJ9 r

Counterpoint

is

most

effective

when the lines

don't

"touch

each

other". That is, the

important notes n the

secondarymelody should not walk acrossor

double the

important notes

in

the primary

melody.

Good

counterpoint

Em

Faulty counterpoint

Em/O

a

r

lT-

,-1

4-4Jl

pg

53



Melody-2

Contrapuntal Bass

Lines

Bass

ines can become

part of the

contrapuntpl

structure as

well. When

repetitive

arpeggiated

bass

igures are used,

they

must relate

well

to

the

melody at

all times,

even

when the two part

structure

briefly

suggests

a harmony

not that

of the

changes

In the

following example, the bass suggests our bars

of

Dm, and four

bars

of Bb.

In

bar two, the two part structure (bassagainstmelody) doesnot make Dm. The

implied

harmony

(Am)

is compatible,

though, and the bass remains

consonant

against

he

melody.

From

"INDIGO"

(See

also Appendix

7.20)

Drfil 0,. {no3) Bh1eilm3}

An active basscan fit well againsta powerful melody. For this technique o be

effective,

more than

just

the

bass guitar must be assigned o the bottom line.

A

synthesizer

and

(perhaps)

a low reed

instrument

together

can

balance he energy

level required. Note the blank areas n the following

example: hey permit the

drums to come through.

From

"JOY

RYDER"

(See

also

Appendix

7.23)

Fmal?trc31,r4



STEP

THREE:

HARMONY-2

(Reharmonization)

LEVELS OF COLOR

ADDING CHORDS

page

0)

There s a level of harmonic color "just right" for any chart. When the level is too

low, the

product

will

sound

boring

or

naive; with

too

much

color,

most any

chart

will be

overbearing and unenjoyable

enjoyable o hear, to perform.

Jazz

harmony is normally

more

colorful and diverse than harmony used

in

other

areasof popular

music.

Harmonic

color is present

(to

varying

degrees)

n

all tunes:

notes and

chords

borrowed from

other

keys raise the

level

of

harmonic color

in

all

styles.

Even the

common chord

extensions

help to

createa

richer

harmonic

fabric.

CHANGING

THE AMOUNT

OF HARMONIC COLOR

As a set of changes s treated with extensions,

alterations and borrowed

chords, harmonic

color

increases.

Conversely,

he

removal of

some of

these

alterations will certainly

bring

the

color level down, and with it

the

tension.

See

page

25

By

substituting

a few change-bass oicings,

the arranger can slow the

fundamental basswithout changing the color level. This causesan

increase n the transparency

of

the

chart.

See

page 26,

and page

57

(bars

1

and 2).

Major can

be

changed o minor. Through the

use of

pedal point and

substitutions, a

harmonization

can be

changed

from major to modal.

SeeAppendixT - secondversionof Skylark,bars 1. 6.

Note: the technique

of shifting the modality of

a set

of changes

s most

successful

with ballads and gentle latins; such shifting of

modality

is

less

appropriate for

swing

tunes that were

originally written

in

major.

Harmony-2

3A

3B

pg

55



REHARMONIZATION

begins

with

the

decision

hat a

good

tune has

changes hat

need

help.

In contemporary

use,

"SKyLARK"

s

such

a

tune.

Enhancement

of

"SKYLARK"

nvolves chord

substitutes

(page

27) and pedal

point

(page

59)

SI(YLARK

Lttt&rmrbr

h*tltrgyCiSr-

Co? Ca?

W-t

FJ

r rlt

t

r l t ryH

-t

.

stt

skt

FE7

t

A,XT

l,l*rdt

E6 Fo? Go? AM7

D

alt?

bl .

6

Lrl

-

l-t

-

F'

ln

t

-.

t . i l

b

-t

t

ln

F-

r rr .

lt

lEr | |

hc h?- l r l . r

r .a rb L

j [ . r t ' l -

. .E t .b . tb rdL

D6 bd B? AtbT

Er'

lul. -

ln. . t t -

H lb

-.

-

brt E 15 AX,

b a 5.-- .d

-?-

Do?15

CE

lS Ct

t

E. a

DM'

A.. l b

F

b-

Fo?

1rtr--

w-.L-tu

- . .o

. ' t l

.d

f

ti '

GI '

a- r

A7

D7

d.h.

Gr?

c .t rh ,

Da F7

n-O.

Gd

C 7

t lyr-

E

d

f.a

t- oIL-

t7 D

--.

t - rbq

ri

b

rthn I r t . i .

E5 B? 19

E6

-

tr

rir.-

1. Beginning:

The

changes

are

outdated,

due

to a

combination

of the first

Maj.

6th

chord, and

the

stepwise

progression

n bars L

and 2.

(Great

une,

but

Players

nowadays

do

not

use

such

changesas

these )

The changes

need help

Solution:

The

Ab

change

(bar

4)

becamea

target

chord,

and was

approached

by borrowed ii-V progressionsbuilt over an appoggiatura. (Seeadd-chord

on

Page

60.)

New

changes or

bars

L and

2 were placed

over a Bb

pedal

point,

providing

a

better interval

relationship

between

melody

and bass.

Note also

the

interesting

sound from

bar 2 into

bar

3. See argets

on page

58.

2. The

bridge:

Original

changeswere

kept in

the

first 4 bars

of

the

bridge.

Note

the

several i-V

chord

movements

n the

bridge:

a gentle

and

consonant'

melody

at

slow tempo

requires

some activity

in

the

fundamental

bass.

pg

56

-

-

rL

-.-t

ril-l. r t Ut

rrt-

I ta-t fr

1



"SKYLARK":

REHARMONIZED.

(See

also

Appendix

Z.1Z)

T-arget

chords

are

vital

to

good

reharmonization.

Two

targets

are

circled

Nrl"

the

stepwise

and

traditional

ii-v

movement

used

to

Xpprou.i-tt,"r"

Both

targets

are vital

to

the

successful

rehar*orrir"tior,.

Harmony-2

below.

targets.

llE lrl.rr.{.r V.EbAl

- lg7(lel

Fm

c tab

aFnl

*tab

6f7lfe)

llclctclrEaaE

cmrah4

aln"jz

Gm.J7

Em l

a?

Dg

GmaJT

o.7

6?

obg

alns

ahuab

EbmrJz

m7

eb

bma,z

pg

57



Harmony-2

The

TARGET

CHORD is

a

chord

to which

other chords move. Target

chords

are

more important

to

the

changes han

the

chords

lead

to

them.

In

"SKYLARK- (Jazz

Messengers

hanges),

arget

#1

is the

Ab

major,

a

characteristicharmony

for

the

tune,

one

which

is not

replaced. The

result

is

substitute changes.

which move

to

the

same

target

as the

original changes

had moved. Successful

eharmonization

depends

upon

this technique

c ab

aFnr

A7 afmat Dt1 G?

The success

f substifute

changes

s measured

by

their

ability

to

progress

effectively to

a designated

target.

The

Color Shift

is

another

important

tool in

contemporary

harmonization.

Unexpected

movement

across a

bar line from

a

"flats"

key center

to

a

"sharps"

key

center

releases

significant

amount of musical

energy.

This is

called

color

shift.

The

progression

n

bars 2 and

3

(circled

above)

s

a

good example.

Movement

across

from

the

sound

of three flats

(Eb

and

Bb7) o the

sound

of

two

sharps

(Em7

and

A7)

is

exciting, and

attracts

mmediate attention.

Clever

use of the

color

shift enhancea

set

of

jazz

changesmore

quickly than

almost

any

other harmonic

technique

available

to

the

contemporary arranger.

Check the color shift in the following example from "Canto Triste"

(Brazil

66)

as

the

Gm7

-

C7

(bar

8) moves

suddenly to

F#m7

(bar

9).

This

tune

set trends in

the

cross-overworld

of

the

early 70's.

6m/A

4

7(f r)

, ;7rhlY

,

6674

4

7()e)

Color

shifts

should not be

overused.

Em?

bnb Efrthr

Eo?

u?rn.,

I

pg

58



Harmony-2

PEDAL POINT

is a

held

or repeated

note

piaced

below

a

series

of

moving

chords.

Moving

chords

that

make

little

sense

ogether, on

their

own, can be

made

to sound

logical when

placed

over

(or

under) the

right pedal

point.

(Abbreviation:

PP)

The Bb pedal in bars

one

and

two

of

"SKYLARK"

(Jazz

Messenger

hanges)

auses

the moving harmonies above t to

sound

logical to the melody,

and at

the

same

time to form change-bass hords.

Together, he pedal point

and

the

moving

chords

produce a rich harmonic

environment in

which the

sudden color

shift

to

E

min.

is not disruptive, but

exciting.

c nb

ahr

ebtab 6l7thr

Em?

Pedalpoint is most useful

to

jazz

and popular music

three

ways:

1) As an approach

to

a

major

cadence, o

signal the closing

of

a

section.

The

pedal in

this case

s

usually

the

IV or

the V,

if the cadence

s normal.

Such

a

pedal point

justifies

progressions

hat under

other circumstances

would

not sound

appropriate

so

close

o

a cadencearea.

At the beginning

of

a section of music, pedal point can

hold unusual

changes ogether, and also help to punctuate progression

of

the

fcrm

itself.

Example:

From

"SKYLARK" (UNT

Singers changes

The

A

pedal

supports

the

chanees

esponsible modal

reharmonization.

-

2l

pg

59



Harmony-2

ADDING

CHORDS TO

THE CHANGES

(,Add

Chord,,)

Even the

best

changes

may

not

h1rt"

9n9ugh

harmonic

motion

to

satisfy

special

needs n

an

arrangement.

When this

is

thJcase,

additional

chords

may'be'added

without

changing

the message

or flow

of

the

changes.

The

process

s

called

add

chord.

The

selection

of notes

and

chords

is

made

from

non-harmonic shaPesadded to the fundamentalbass. Providing theseadded bass

note(s)

aPPear

n

non-harmonic

shapes,

the

chords

built

on"r

tliu*

will

enhance,

not

alter, the

sound

of the

changes.

Exlmple:

This

bass

ine

cannot

support

harmonies

on

each

note

in

the

melody

withou.t

repeating

the

same

chord

over

and

over.

Dm7

en7

A+7bs

Dm7

vl

.

t) A

a

a)

a

/ 'L I l

It

Fundamental

Bass

But

a note

or two

added

to the

fundamental

bass

can

provide

the

foundation

for

additional

chords.

These

new

note(s)

should

be

aided

via

non-harmonic

llupu-t,

g.B.-passing

r

leading

tones,-auxiliaries,

ppoggiatura

or escape

note.

Chords

built

over

non-harmonic

additions

need

"ot

66

in

the

originll

changes

n

order

to

sound

right

in

the

context

of the

arrangementl

I

Dm7Am7Ab9 en7 Bbg"us+ +7be

@ ISQV Dm7

You

can

effectively

use

add

chord:

1) When

a

cadence

needs

more

motion.

2)

I4/hen

the

changes

go

by too

slowly

to

balance

a

colorful

melody

pg

60



Harmony-2

1) When a

cadence

needs

more

motion:

Increase

he harmonic motion

by adding

additional

ii-V

movement.

This

addition

can occur

while

the melody is still moving....

original

with the

additions

.......

OR,

when the melody itself

cadences.

(Example:

"BLACK

ORPHEUS")

DbmajT

667

\- 16

passingtoneshanes{

2)

When

the changes

go by too slowly to balance

a colorful melody:

Add chords to a new non-harmonic bass ine. The new non-harmonic bass

line will enable some

great

chordal

sounds;

therefore, t should

not depart

unnecessarily rom the original

key

center.

By using

a variety

of chord

types,

the

new

changes

do

not

becomepredicable.

the original

When there is

reasonal empo

fewer add-chords

areneeded.

In a slower

tempo, he

need

for add-chord

is greater.

ahnorbmajzbmajz

Cwq Fql"

Bbq

,/r

6,2

Eb7,



Horns-2

STEP

FOUR: HORNSAND

HARMONIC

DENSITY

if fi3N3SH,BlffiiT,:

20

30

Most

jazz

perform.rnces

eature

brass

and woodwind

instruments

in

front line*

or

backing instrumentation. (Trumpets, saxesand trombones are the most common.)

Since

much of

the

tradition in

jazz

is

linked

to the idiom of

these

horns,

a writer

interested

n

jazz

should first concentrate

his/her listening and writing on

combinations

of

these instruments.)

HORN COMBINATIONS

Project II involves

three

horns

with

rhythm. The

horns

should

be

chosen rom

between rumpet,

trombone, alto and tenor

sax. Access o these

horns is usually

good, and

thesehorns blend

together

well in most

combinations.

They

are also

most easily found in good jazz recordings,your best source of model and perspective

while learning the

idiom of

jazz.

Common

groupings of

horns.

(Easiest

accessor

research istening)

1) Trumpet*

2) Trumpet*

Alto Sax

Alto

Sax

Trombone

Tenor

Sax

(3-a

Rhythm)

(3-a

Rhythm)

3)

Trumpet*

4) Alto Sax

Tenor Sax

Tenor Sax

Trombone

Trombone

(3-a

Rhythm)

(3-4

Rhythm)

*

The Fluegelhornmay be substituted for trumpet if the style of your chart

is

"pretty"

(versus

aggressive), .8.,

BossaNova or

laid

back

"straight

eight"

arrangements. Or,

if the tempo

is

slow,

and

the cutting

quality of

trumpet

would overload

the texture you

want to

achieve.

(Ranges

and

characteristics

of the

Fluegelhorn are

found in

Appendix 4.1.)

Front line refers o the lead instruments in a small group

(2

or 3 horns

and rhythm),

or

in a

"front

line band"

(4

to 5

horns and

full rhythm). The

name comes rom

positioning

horns

across he front of a performance

area,standing

in

front of the

rhythm players.

Nowadays, guitars

and

synths

can

play

the

leads in

any

style

equally

well as horns, None-

the-less,

front

line"

refers to

wind

instruments.

pg

63



Horns-2

48: HARMONIC DENSITY

when more

than

one instrument

plays on

the

same

line,

or

with

the

same

rhythms,

the weight

of the sound

increases. The

effect is

measured in terms of

harmonic densiw.

The level

of harmonic

density

("density"

for

short)

describes

he

number

of different

notes n the chords. ncluding the melody (or lead). Density doesnot describe he

number of different

horns

playing

on

the

same notes.

DENSITY

LEVELS

--

1o

Unisons

and

octaves

The

level

of

harmonic

density

in

unisons and octaves

s

"one"

regardless

of how many

homs

or other instruments

may

be

involved

at the same

time.

--

2" Two different notes

that

move

together

with

the

same

or

similar rhythms have

a density

level

of

two.

(Ten

horns may

be

written

on

these

notes, and the

density level

is still two )

.

Densitl-2 may involve

a

variety

of

intervals,

but

only two notes at a time;

--

3o Three notes

moving

together

have

a

density

level

of three.

Most

Density-3

s

in

close position,

and

clustering is

common.

Note

Both octaves

nd unisons

have

a densityT:evel

f

one.

//

Doublingat he

o-ctave

oes

not

add

"ne'w

otes"

(This

s

still density-2)

o

a

Density describes

only those

notes that move together

on the

same

ine.

Density writing

does

not include

music

where two

or more

lines

move individually.

That is

Counterpoint.

(Listen

to

the Fluegelhorn

improvisation during the head

of

"DE

SAMBA".)

ps64



Horns-2

WHEN

TO

WRITE HORNS

IN DENSITY,

AND AT

WHAT

LEVEL:

Best

decisions

on the

use

of density

are

made

on the

basis

of the character

of the

lead

lines

themselves.

Character

of the

melody

o when the melody line is less active. chords are more appropriate.

This

means

a higher

level

of density.

You Don't

Know

what

Love

Is

(bars

r-4

- seealso

Appendix

z.)

When

lead.sare

more

active

(quickly

moving

a

wide

range),

chords

are

less

appropriate. This means

a lower level

of density.

(Unisons

and

8ves)

"Take The'A Train" (SeealsoAppendix 7.)

Note:

In instrumental

music,

frequent

changes

n density

tend

to damage

he

coherency

of

the

music.

However,

where

density-L

is

in

use, it

is not

unirsual

for

the density

level

to increase

or

cadences,

where

the velocity

of the music

is

at

its

lowest.

pg

65



Horns-2

DENSITY OF

ONE

(Unisons

and

octaves)

Unisons and octaves

have

a

density

of one

(density-l)

regardless

of

how

many

instruments may

be playing.

.

Density-l

lg

a

good

choicefor

lines that

have

a high level

of

activity.

Example:

"IN

CASE

YOU

MISSED IT"

(See

Appendix

7.10)

Density-I is

also

good

or less active

lines

in

low

ranges,

where

the

higher

densities

would

sound

strange or

forced.

Blample:

"BLACK ORPHEUS"

(See

Appendix

7.02)

.

Density.l

is

also

good

or slower and

quieter

tunes

with

rich

changes,

Example:

"DOLPHIN DAI.ICE"

(See

Appendix

7.01)

.

Density-l

is

extremely

powerful

used in

both

the top

and

bottom

of

a

chart, when

both top and bottom

are active

melodies

Example: "JOY

RYDER"

(See

Appendix7.24)

Uxtrsatr,l

llzlNs

pg

66



Horns-2

DENSITY

OF TWO

Two-note

harmonieswritten

on

the same

ine

have

a

density of

two.

(Density-2)

Density-2

doesnot refer to

octaves,or

to

counterpoint.

.

3RDSAND

4THS

are the

most conunon

intervals used for density-2. Th"y

may be mixed, and are

easily invertible. In the

following example, ake

note also of the additional movement in bars 13-1,5, hich (usedsparingly)

adds interest without

compromising

the

harmonic

density.

Example:

DEVIL'S

ISLAND"

(See

Appendix 7.12)

3--r^oA

.

Density-2

can also be used

effectively

with

three

horns.

Briefly doubling the

lead

one octave

ower introduces

a

changeof sound

in

3-horn

writing, away

from

the

normal

concentration

on 3-density

and

unisons. Such changes n

texture

(brief

and used

sparingly)

enhance

the interest level

of

the music.

6tt67

g[be{$tt)

Example:

IN

CASE YOU MISSED T"

(See

Appendix

7.10)

F7sus4 F Fil



Horns-2

DENSITY OF

THREE

Chords

with

three

different

notes

have

a

density

level

of

three.

(Density-3)

A fourth instrument doubling the

lead

at

the

octave

does

not

increase

he level of

density.

Density-3 is typically found in

close

position,

and

in

low to

mid

ranges;

density-3 written

in

the higher ranges is

more aggressive and

harder

to

handle.

MOSTCOMMON DENSITY-3 OICINGS

Dm? Dm?

clo

Alo rrcbabrcrrc

D

/F I

1. Close

position

chords

and their

inversions

are

most

effective

when used

in unusual harmonies,

and with

change-bass

chords.

,....

ut

are

best used n change$ass voicings

where

harmonic clarity is

mostimportant,

2. Close

position

chords

containing

major +

minor

2nds

for

color

and

power.

Whole steps

are

common

at both

top and

bottom.

Half-stepsare better at

the

bottom

than at

top.

3.

Quartal

chords

are most

effective

when

the

tempo is

slow, or

when the

rhythm section reinforces

the voicing.

Open

voicings

encourage

nner

movement.

4. Open position chords

Built by stacking fourths,

quartals

provide a modal

'quality

to the

chart.

Th"y

can easily

be

overused;

quartals

combine

well

with tertian voicings

(triadic

chords)

Triads

canbe

plain

and straightahead,

Voicings

with

2nds are the mostcommon choice n highenergy

jazz,

Densitjes

uilt in 4ths

iuartal

)

best uggestmodalharmc:y

,

'

Some are difficuit o describe

with

svmbol

Open

pcition

densities are bestused whetr

the mwamentis dow.

pg

68



Exceqpts

below

demonstrate

the four

typical

density-3

voicings listed

to the

left.

Note that

in

each

example,

more

than

one voicing type

is used. This

is

good.

(Each

is found

also

in

Appendix

7, and

may be

heard

on

the listening

tape.)

Also: close

position

and faster

movement

go

together.

Wider

and slower

do, too.

Example

1a) from "KING COBRA"

(Triadic

voicings,

close

position

best use: on melody lines whose mplied harmonies are

vague or obviously

apart from

the changes.

Example

2a) from

"DAY

IN VIENNA"

(Close

position

voicines

that contain

2nds.

Tlpical use: with

a

melody whose

implied

hannony is

very

close to the changes)

Example

3a) from TOU DONT KNOW WHAT

LO\m IS"

(Quartal

voicings)

Best use is where

he

implied

harmony s

close o the

changes

but you don't want densitywith 2nds. (Don'toveruse )

Example

4a)

from

"KING

COBRA"

(Open

position

voicings:

slow movement)

Best use is with climaxing and reinforced chords (don't

overuse ),

or

slower lines where

you

want inner

movement.

q

4

{

(

7 Db

.A?



Horns-2

PARTICULARLY

GOOD

USE

OF DENSITIES

IN THESE

APPENDIX TUNES:

7.7

"DOLPHIN

DANCE"

Density-1 is

used throughout. The

changes are

diverse

and

colorful,

tempo

is

slow,

and rangesare

never high.

7.5

"NIGHT

DREAMER"

Density-L

is

constant throughout

the head. To keep

density-l

from

losing

energy,

enough activity

and ornamentation was built

compositionally nto the tune itself. (Bars7,1'J.,1.4, 6,L9 of the lead sheet)

7.6

"REUNION"'

Various

3-densities

are used

throughout

the

entire head. For

two reasons he unrelenting

use

of

density-3 does

not

"get

old":

1) The variation

in the

types of density-3

(see

page 94); and,

....

2)

The melodic idiom

(guitar/vibes)

is

enhancedby consistency.

7.9

"AU

LAIT" Density-1

throughout is

good

when

the

time feel

and harmonic

outline

changes as

continuously as

on

this

tune. Higher densities

would

be

unhelpful; therefore, they

would clutter

the

texture.

7.10 "IN CASEYOU MISSED T" Density shifts from 1o o 3o at the bridge. This

change

in

density

to

provide

the

contrast

needed for

the sake

of

form

is

very good.

Since his tune

is

basically a

high energy density-l

sound,

the

bridge returns to

density-L

(octaves)

as

soon as the

contrast

is set by higher

densities.

Final

cadence s

a

higher density:

this is normal.

7.13

"YOU

DON"T KNOW

WHAT LOVE IS"

Classic

use

of

varying densities.

The quartals at first give way

in

bar 9 to

octaves,as the melody becomes

more active. All possible

closeposition densities

are used by the bridge;

therefore, he

solo

texfure

provides the ideal relief

for

the

AABA

form,

where the bridge

calls for a contrast. Note the

return

to

A:

compositional,

very active, to avoid overusing the diversity choiceof densities n the A's.

7.1.5

"CATHAY"

Interesting

combination of category 2 and category 4 Density-3

voicings,

all change-bass nd

doubled at the

octave.

The

contemporary and

modal

effect

is due also

in part to the

combining of

sax

and synthesis.

pg70



e Densities

ile

voicings

do exiqt

containing

six

and seven

d.ifferent

notes,

densities

of

-4 and

-5

are

thought

of as

.t:p""^1:::',1:

:::::l"la:

"

J1q:,:l'","bi:

consistf

.more

t" fir"

ti;y"*

fuLyins

ifferent

so densities

arger

than

-5 are

usually

a

result

of

combining

smaller

aeniit6s.

-4

Four

different notes,generally

rom

chords

hat

would

default to

stacked

hirds.

,sition

bottom

note

s root

or

bass

of the

Slow

moving,

with

a pyramid,shapi

Invers.ion

ange

(bottom

note

s 3rd

or

7th of

chord)

Usually

open voiced,

with

an

hourglass

hape.

i7

Am{T/C$

Dg:trs4

AmqiT

resuit

of adding

an extension

r

alterations

o the

4o

voicing.

I nve

ned

position (

hourglas

A13

AmaiT

A

i7lc$

osi,sr

A13

Ama17

Am47lcf

D9sr64

CmgT

rity'4.

voicings

may accommodate

ive

instruments,

y

doubling

he

ead

one

octave

ower.

position

(pvramid)

Invened

position

lhoirglassl

Am7

A13

Ama17

AmajT/C$

Dgssa

CmajT

A13

A mdT

AmaiT/Cfi

D9:trs4

voicings

esemble

he 4o voicings,

are

more

colorful,

he

position

pyramid)

Am7

A13

A

maj

A m4

7/Ci

Dgs'rs4

C

maj

7

Block oicings

are

density-4

lose

position

with

the

ead

doubled

one

octave

ower.

They

give

a solid

and easilyplayed

sound

or saxes.

Block

oicings

are

bestusedwhere

here s

movement,

nd

n

a medium

ange.

ExtensiJe

usewiiioate

the music.

Cmal7

Em7

Amg

Cmaig

Dgsr64

Ags&

c

oDO

G6

Bot

Em7

Pm7

Bbmaj9

3gf'

oicings

9J9p

tt"

2nd voice

one

octave, ushing

he sound

nto

open

position.

Drop-two

is

used

) when

he

ead

s at

the

or

above

he

staff

(concert),

anilor

2) for

a

less-aggres*sive

ound.

(Ope'n

voiced

chords

c6nform

to

fewerchord

,y*L"fil

Am9

Dgsq

Am9

Bbmajg

Bei

Emz

E*'#e

Dm/E

Bbma;s

Erg

D1r3

Drg

*

10E



voicing

moving

ine

or

saxes.requires

he

use f

compatible

hords

here

he.

ine

s

n stepwisc

ovemenr

ompatible

horls

are

hose

u'r

f;;;;;;r

i"

;.

,-*i'.;p;;:H,';:"J1,

*.

chord

hange.-(See

)

t'rrsr,

orce

he

opening

hord.

hen

";i;i:l;ii

fi, in

voice

;il;il;"

compatibles.

Ebg",,"r

The mostconvenient lace o move rom blcck to drop_2s at a

leap.

ebs.,*

Drop-2

voicings

Gm7

and

its

compatible

hords

drawn

rom thererated care)

Gm7

ebg

altos

tenors

bari

,l-

Compatible

Chords

Three

i.ne

ketchfor

saxes;

middre

rine

uses

ctave

cref

transposed

for

aattb

sares

7ob



Rhythm-2

STEP

FIVE:

THE

RHYTHM

SECTION

5A. FUNCTIONS

58.

SLASHRHYTHMS

sffi=ff8T*,,

The rhythm

section

lays

down

the primary groove for a chart. For this to occur at its

best,

hythm

players must

play responsively

o each

other.

The arrangementshould

give sufficient information,

but leave

as much freedom as possible. Always

However,

specific

music

should be written for the

rhythm section

when

the chart

becomes

unpredictable,

and

when

horns and rhythm are integrated.

(5C)

In any

chart where

either of

these

conditions

exist, each

member

of the rhythm section

must receive

an

individual

part

Detailed information

on each

of

the rhvthm

section

instruments is located in

Appendix

5.

Also in Appendix

5 are style

sheets

or various Latin and

Contemporarygrooves.

5A. FUNCTIONS OF THE RHYTHM

SECTION

The rhythm

section

performs four

basic functions within any

ensemble.

Two

were

discussed n Chapter I,

Step5:

1,)Keeping time in the proper

style.

(As

mentioned above)

2)

Comping

and

establishing he

changes.

In

addition to these, he rhythm section also

3) Plays he form of the

chart.

4) Integrates he band.

58 SLASH RHYTHMS VERSUS

SPECIFICNOTES

Slash

rhythms with

chord changes and style information tell the rhythm

sectionmost

of

what they need to know. In

places where

the rhythm

section

should play

specific

rhythms together,

the

below

style

is

effective.

In a

three-line sketch, rhythm

section

may be written

on

the bottom line

of

eachsystem,

with specifit bassnotes appearing

onlv

where needed.

pgTl



Rhythm-2

PLAYING THE

FORM

(5A-3)

The

rhythm

section

itself

is responsible

for

varying

the

motion

or

rhythmic style

to

portray

the

songform of the

tune,

and also

to punctuate the

overall form

of

the

arrangement tself.

Examples:

e

In the arrangement

of

an AABA

tune, the bridge

should somehow contrast

the

feeling of the

"A"

sections.

In a chart on

"Autumn

Leaves),

he rhythm

section

may change he rhythmic sfyle at

the

bridge.

The resulting contrast

satisfies the

need, thus reducing the need for the horns to change.

Example:

"AUTUMN

LEAVES"

(not

present in

the

Appendix)

The break

in

rhythm

and

the change

from"2

FEEL"

to"WALK IN 4"

are the arranger's

responsibility.

When

moving

from the head

to

the next

area

of a chart,

the

rh5rthrn

section may lay out for a few beatspreceding the next double bar. Ttris

short

break helps

to

punctuate

the oqfline of the fom of the ehart.

In

the

following

slnmple, there

is a brief break in the rhythm before

he

first

improvisation.

Ohis

is

also an example

of

integration,

which

follows.)

Example:

TOU

DON1I KNOW

WI{AII

LO\IE

IS"

(See

Appendix 7.13

)

pg72



INTEGRATING

THE

BAND

(sA-4)

Rhvthm-2

During

the

first

three

functions

(time,

changes

and

form),

rhythm

and

horns

occupy

ifferent

space'

At

times,-the

rhythm

sectiJn

and

horns

join

together

rhythmically,

producing

an

integrated

effect

of

one_ness.

1) Partial ntegration nvolvespiano,

guitar (if

present)

nd

the

bass.

2)

Full

integration

nvolves

he

entire

rhythm

section.

PARTIaL

II\nEGRATIoN

occurs

when

all

but

the

drums-

play

on

the

horn

line

or

the

orn

rhythms'

ll'he

dnrmmer

may

catch

some

ofthe

"rrythms,

but

will

continue

o

eep

he

feeling

of

time

ana

nus

Joing

throulho;

thi.

effect.

'

Partid

integratigo

i

good

or

slower

but.rhythmic

ensemble

deas

hat

eed

o

be ntense

but

lelvingroom

rot

r

ai-L

of

the

contoui.

bartially

integrated

sgo^ri3g_need

ot U6 ou4:ust i"t"_*

ssarnpte:posfcARDS" see

d;

6;;"-iil.

z.ro.i

tu

lartialintegration

always

eads

o

full

integration,

even

f

the

full

integration

s

a

beat

or

tw6.

lt

is

a

matte"

orinticip"tio'and

climax.

f,lample:

"Al{fHEMo (See

also

6;;dili;;;"'"'

pE73



Rhythm-2

Full

Integration

occurs

when

the entire

rhythm section

plays on

the

horn

rhythms.

Fully

integrated

scoring

is used to bring

an entire chart

to its climax. In

the

caseof

the

following

example,

the

introduction

itself

begins

with

partial integration,

for

power, which

then

culminate

in a

fully

integrated

texture.

'

Example:

Beginning

of

"INTRIGUE"

Partial

integration

leads

to

full

integration at the 1/2-note triplet section and following. (SeeAppendix7.24)

QUums

f i l l ino

l {

EndsetuD

tA

I3r

I

The

amount of music

needing

to be fully

integrated

depends

on

the intensity

of the

music leading up to that point:

o

Music with

slower

tempo

or

with

lower levels

of

intensity will

require

only a few beats

of full integration

for the

effect

to feel

complete.

'

Music with

faster

tempo

or

higher

intensity

(ranges,

rhythmic

complexity,

etc.)

will

require

more

full integration.

This

music

will

also requirb

a

longer area

of partial integration

leading

up

to the

fully integratld

sound.

5D.

INDIVIDUAL

RHYTHM

PARTS

When

the rhythm

section

players

are

given

individual

parts, these

parts

must

conform

to individual

horn

parts, in

every

respect.

(Format,

bar numbers,

etc.)

Whether

to write individual

parts,

or a

composite rhythm

part

(to

be

photocopied

for

each ndividual)

is a very important

discovery that

must be made

with

every

chart

that

one

writes.

Material

expectations

on

the

part

of both player

and

leader are

very

important

to the

success f an arrangement

RhUthm

t_3-

pg74



Formats-2

STEP

SIX:

MEDIUM

FORMATS

6A.

FULL

3-LINE

SKETCHES

33

ffffi. .i"Xt?,

In a full 3-line

sketch

for small

band

charts,horn and

lead lines are

completely

notated. But they fit on one or two lines,and not on separate ines for eachhom.

Music for the rhythm

section ncludes

the changes,

occasional

bass

notes

(as

needed),

style instructions,

and some information

for

drums

and

percussion

relating to

style.

(The

primary aim at

this point is

still to provide music where

interaction between the

rhythm

players is as important

as that which is written.)

\

t/hily

P+

.

Sketches should

be written entirely

in the concertkev

NOTATION

SOFTWARE.

Computer

generated

sketches

should

conform to the

same

guidelines.

Good

notation

programs provide

completecontrol of your layout. If

your software is inflexible,

you

should change o different software,

or

handcopy

your final

sketch.

Afut

7 i'u,? .--z

7

".?x

atLY-

11

?

T,

a

pg75



Formats-2

THE FULL

3-LINE

SKETCH

(See

also

Appendix 6.L)

Three-line sketches

are

good

for

final versions

of

charts with:

.

Two to four horns

with

rhythm

in styles

that

are not intricate,

o

Vocal

solo

with

rhythm and occasionalhorn fills.

(Appendix

6.1)

.

Vocal group

with

a rhythm section that

will

read

from

composite.

THE

3-LINE

SKETCH

COMBINESA SINGLELINE

WTTH

A

TWO-LINE

GROUPING.

Horns or

other

leads may appear

(B)

on a

single ine at top.

The two

linesbelow show

rhythm section.

section.

@est

when

he

chan

has

simple horn

lines and he

rhythm exceeds

a composite)

Hornsmay

occupy

wo ines, n

which

case

the rhythmsection ppears n thebottom ine..

(If

during his

part

of

thechart

your

rhythm

notation ecomes

oobusy,

hen

you

should

be

usinga 4-line ormat.)

Vocal solo appear on the top

line, with rhythm sectionand

occasionalhorn backgrounds

on the

two

line frame

below.

Vocal

group

occupies he op two lines,

and

the rhythm section s

written

to

a one-line

compositeat the bottom.

(The

rhythm must

be uncomplicated or this format

to

work.)

FF7

B td{

(q)

Conllnue atin

Ebr(t t t

here'sthat'arn-y

'l

AlA 89

pE76



formats

-2

3.LINE SKETCH OF

"HERE'S

TI{AT RAII{Y DAY

..

3 HORNS

AI{D RHNHM.

The chart

calls

for

specific

horns,

but may

be

copied

o any

size

hythm

section.

A COMPLETE ORMATncludes

lef,

keyand

time

signature,

nd brackets o

show

he

divisionof spacewithina systemof staves.

Unison

nd

medium

o high

melody s

notatedon

the top statf, eaving

wo

staves or the rhythmsection.

r )

\

uhils

v+3

?Vu-o1is

-

\\-/

T1t

frr

BARNUMBEFIShould ppear t he

bottom eft of

each

bar.

They may

be

placed

abovedoublebars,

enclosedn a box.

Lowerhorn linesmove o the

middlestatf;

he rhythm hen

occupieson the

bottom

staff.

Arrows show

changes

n location

RHYTHMSECTIONs notated

on the

bottom

staff

(composite)

when

the

horns

or

leads

occupy

a two 2-staff

group.

pg77



Formats-2

A NEW

FORMAT

S

REQUIRED

t the beginning

f each

page.

(except

ime

signature,

of course.) Professional

opyists

nd notation

oftwarewill

begin

each ine

with

hi s

information.

n

pencil

sketches

ormats

are

optional

fter

he

page

op.

ARROWS

may

be used

o indicate

he

new ocation

f an instrument.

i;-

6*/el

NOTE:

lefs hatare

minus

a

key signature

mply

C Major.

M

lr\|c

3b

n7

pg

78



Formats-2

The

4-Line

Sketch

The

four-line

format

is

useful

for

situations in

your

chart

where

both

horns

and

rhythm

section

equire

double staff

systems.

Each

set

of

stavesshould

be

bracketed

wherever

ormats are

established

or restated. Each 4-line group is

called a

"scheme".

Typical 4-line

sketch

pageswill have

three

schemes.

See

Appendix

6.1: f you

are

notating

your music via

computer software,

you will want

for your music

to

be

layedout properly. You should not assume hat the softwarewill read your mind.

Somenotation templatesare

very

good, some are not

STOLN{

MOMET{TS

THE FULL

SCOREFOR THE ABOVE

SKETCH

(next

page)

-l+

When

your music is too

complex

to

fit

easily

into a

sketch

ormat,

the final version

should be a FULL

SCORE. Each ndividual instrument

receivesa

separate

ine.

(Keyboards

are written

on either one or two

staves,depending

upon the

complexity

of

their

music.)

PLEASE

NOTE

THESE

CONYENTIONS:

o

Instrument names

(or

their abbreviations)

are placed n the left margin

on

page one. Bracketsshould continue on subsequentpages; nstrument names

or

abbreviations

may

or

may not

continue,

depending how normal

or

unusual

your score ormat

is

to

the

situation

in which the scorewill

be read.

.

Clef signs

and key

signaturesare recommended

or

the

start of eachpage......

they are required when

changes

of

key have

occurred within a previous page.

.

Eachbar should be numbered. When

possible,place the

numbers at

the bottom

left

of the bar

being

numbered.

pg79



Formats-2

THE FULL

SCORE

REPRESENTED

ON

THIS

PAGE

CONTAINS

THE

MUSIC FOUND

IN THE

4-LINE

SKETCH

ON

THE

PREVIOUS

PAGE.

BRACKETS

are

required

at the

beginning

of

each

page

of

full

score

o

identify

and

group families

or types

of

instruments. When it is feasible,

bar

lines

should

be

broken to

group

the

staves

dentically as

the

bracketed

format.

.

"CoIl"

(or "colla")

means

o

copy exactly.

CoIl

is

used

to

create

unisons only within

instruments using

the

same

transpositions.

o

Proper alignment

of

notes

and rests

to

their

respective

beats

s important

to

the readability and

professionalism

representedby your full score.

TPA|Fn

ilros*t'

r4vntut

BIPI5{,I'

qAtA

txw6

Pleasenote:

.

Clef

signs

and key signatures

are required at the start of

each

page of sketch,score,

and individual part.

Th"y are also required

at the beginning

of

a line after

there

has been a change

of

key mid-page

(with

boss)

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