jazztrumpet.com
on small group
arranging
young arrangers should learn to
write for small groups first
ch 1
- how do we manipulate the melodic line?
paraphrase, reworking
- (2 horns arranging becomes a
necessity) rhythmic discoordination
- rhythmic alteration delay (to a lesser
degree) and anticipation (primarily) (most use arranging
device)
- connecting tones chromatic or diatonic
- neighboring tones
- fills
- articulations
- dynamics (least used)
- ornaments
ch 2, 3
- 2 part writing (good exercise for
learning to balance vertical and horizontal)
- parallel/similar/oblique/contrary
motion
- harmonize targets
- approach targets (12 possibilities)
- rhythmically tied to melody
- 2nd option is independent rhythmic
motion
- when 1 voice holds or rests the other
moves
ch4
- 4 note voicings
- (3 note voices present difficulties
due to the missing voice)
- 4 notes are the foundation for 3 or
more
- close voicings must be within the 8ve
- 7th chords only
- 9 for 1 (1 is sounded by bass)
- 11 or 13 for 5 (5 is sounded by bass)
- alt tension on dominant chords
- internal movement of the voices (last
2 bars of a lead sheet)
- 1 voice moves only (under)
- passing movement among voices
- harmonizing 2 internal voices
ch 5
- harmonizing non harmonic tones
- all notes in dorian can be harmonized
with some form of the 1 chord
- diatonic harmonization
- 246 non harmonic
ch 6
- 4 note open voicings
- drop 2
- drop 24
- take care when violating low interval
limits
- drop 3 and others serve to avoid
limits
- guide tones should be lowest or
tensions get reversed
- spreads top down:
- close voicing leave 2 outer voices
- move 2 inner voices down 8ves and
spread by 8ve
- chorales bottom up:
- root on bottom guide tones in middle
color on top (waste of voice?)
- for use in acapella horn sections
- best if you are creating your own
melody
- danger with tunes like all the things
you are (guide tones in melody)
ch 7
- 3 note voicings
- define harmony in each voicing
- take 1 note out of a 4 note (basic
tone out)
- remove a guide tone (maj 3rd can be
thrown out because of the overtone series)-maj or dom
chords
- eg: G/C sounds major
- minor tonalities must have minor 3
- once you define it you are free to
move around
- dissonance is good between 2 voices
- triad writing (can be bland)-mix with
other types is best
ch 8
- 5 note voicings
- more interest
- drop 2
- drop 24 (quartal harmony)
ch 9
- pads/punches/countermelody
- must compliment melody harmonically
and rhythmically
- back to 2 horn writing-then harmonize
the 2nd part (4 parts)
- more interest through rhythmic
activity
- diatonic movement during held melody
notes
- chord arpeggiation during held notes