Raybourn Wright - Inside the Score

INSIDE THE SCOREa deta i led analys isby Sammy Nest ico,

of 8 classic jazzThad Jones, and

ensemble chartsBob Brookmeyer

by Rayburn Wright

Kendor Music, Inc.Main & Grove Sts.

P .O. Box 278Delevan, New York 14042

PR|CE $30.00SUPPLEIIEI{TARY CASSETTE RICOROIIIG

AVAILAELE - SEE PAGE 2

INSIDE THE SCOREa detai led analysis of g ctassic iazz ensembte charts

by Rayburn Wright

Sammy Nestico

Thad Jones Bob Brookmeyer

C O P Y R I G H T O I 9 8 2 B Y K E N D O RA L L R I G H T S R E S E R V E D . P R I N T E D

REPRODUCED I i l A i lY FORM tJ ITHOUT

MUStC, t i l c . , DELEVAi l ,i l u .s .A. - r {0 PART 0FTHE } /R ITTEN PERMISSIO i l

t{ El{ YoR K I r+0r+2TH I S BOOK MAY BEO F T H E P U B L I S H E R .

about the author

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? A Y w R I G H T h a s b e e n t e a c h i n g a r r a n g e r s o f a l I l e v e l s s i n c e h e f i r s t s t a r t e d t h e A r r a n -; = ' s ' w o r k s h o p a t t h e E a s t m a n S c h o o l o f M u s i c i n t h e s u m m e r o f 1 9 5 9 . H e a d o f E a s t m a n t s t ) a z zl : - : e s a n d c o n t e m p o r a r y M e d i a p r o g r a m , h e w a s f o r m e r l y c h i e f a r r a n g e r a n d c o - d i r e c t o r o f- - s c a t R a d i o c i t y M u s i c H a l I a n d w a s c o m p o s e r o f f i l r n s c o r e s f o r t h e p r i z e - w i n n i n g T V. : - , - e n t a r y s e r i e s " S a g a 0 f W e s t e r n M a n , , ,

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s s t u d e n t w r i t e r s a t E a s t m a n h a v e b e e n f r e q u e n t w i n n e r sc o n t e s t s h e l d b y " D o w n B e a t " n a g a z i n e a n d t h e t { a t i o n a I) . T h e i r w r i t i n g h a s o f t e n b e e n s i n g l e d o u t a s b e i n g a- c t i v e q u a l i t y f o r w h i c h W r i g h t t s p r i z e _ w i n n i n g E a s t m a n

o f s t u d e n t a r r a n g i n g / c o m p o s i _A s s o c i a t i o n o f J a z z E d u c a t o r sI e a d i n g f a c t o r i n c r e a t i n g t h eJ a z z E n s e m b l e i s k n o w n .

THE PUBL I SHER

table of contents

a b o u t t h e a u t h o r

i n t r o d u c t i o n

S A M M Y N E S T I C O

" B a s i e - S t r a i g h t A h e a d "

" H a y B u r n e r "

i n t e r v i e w

1

2

5

6

T H A D J O N E S

" T h r e e

" K i d s

A n d 0 n e "

A r e P r e t t y

2 6

4 2

4 5

4 6

7 6

9 4

1 0 8

1 1 1

T L 2

1 4 8

1 5 8

1 ? 9

1 8 2

1 8 4

1 B B

1 9 1

B O B

summ a ry

g l o s s a r y

P e o p l e "

t ' u s t t

i n t e r v i e w

BROOKMEYER

" H e I 1 o A n d

" F i r s t L o v e

" A B C B 1 u e s "

G o o d b y e "

S o n g "

i n t e r v i e w

m o s t - u s e d c h o r d t y p e s

b i b l i o g r a p h y

introduction

The s tud l -o f f u l l s co res o f j azz compos i t i ons p rov ides a r l ch oppo r tun i t y f o r B . r r i r i t J r r - s: r C , i a z z c o m p o s e r s t o l e a r n t h e t r a d e s e c r e t s o f t h e g r e a t w r i t e r s . D e s p i t e t h e r e i : r - . :. " ' a i l a b i l i t f ' o f s u c h s c o r e s , m a n y o f t h e s e s e c r e t s r e m a i n h i d d e n . T h i s g u j d e d t o u r t h : c : ; : -

8 c l ass i c j azz ensemb le sco res i s des i . gned to expose the sec re t s o f t hese works and to rea l -ze l he i ns igh t t ha t can be ga ined f rom the i r s tudy .

I t j - s pa r t i cu la r l y i n te res t i ng t o compare the w r j - t i ng t echn iques o f Thad Jones , Sa : . : i -\ e s t i c o , a n d B o b B r o o k m e y e r . E a c h h a s s i m l l a r r o o t s j . n t h e m a i n s t r e a m b i g b a n d t r a d i r i - , :, pa r t i cu la r l y Bas ie ' s ) and each i s a w r i t e r o f au then t i c - sound ing j azz ) - i nes t ha t make ba : . j s

s ' t j . ng happ i l y . And ye t t he i r w r i t i ng i s ve ry d j . f f e ren t . They a re s tud ied he re i n t he o r i r :

o f i nc reas ing comp lex i t y : Nes t i co , Jones , and B rookmeyer . I do no t , howeve r , equa te ( ' r ' r -

p l e x i t y w i t h q u a l i t y - - t h e s i m p l e r s c o r e s a r e d e c e p t i v e l y h a r d t o w r i t e . B u t t h e : o : ' =

:omp lex w r i t i ng w j . l 1 be be t te r unde rs tood i f t he sco res a re s tud ied j . n t h i s o rde r .

I have l ooked a t t he va r i ous e lemen ts t ha t can make a cha r t sound g rea t ( i n add i t i o : .' n o r o e r n l q r r i n o l ) - - v o i c i n g s , o r c h e s t r a t i o n , t e x t u r e s , m e l o d i c c o n s t r u c t i o n , p o s i t i o n r - :- ' l i m e v o q n c q q i . o c h o r d s , s u b s t j . t u t e c h o r d s - - a I 1 o f w h i c h a r e c l e a r l y a n n o t a t e d w i . t h r h .

he lp o f an unde rs tand ing and i ndu lgen t pub l i she r . I n add i t i on , an i n te rv iew w i th each r i r i r -

e r r evea l s h i s exp lana t i ons and i ns igh t . The append i x i . nc ludes a t ab le o f cho rd s lmbo I : ; , : .

3 : l ossa ry o f t e rms , and a b ib l i og raphy . Th i s book assumes tha t t he reade r has had p rc ' r ' i ou -

srudl - and has a good grasp of arranging. Much can be learned about arranging f rom the ' er-n l n n e f i n n s s i r r o n i p t h i s t e x t a n d i n t h e g l o s s a r y , b u t i t i s n o t p o s s i b l e t o t e a c h t h e w h o l t

b ^ t v r r -

sub j ec t here .

V o i c i n g s h a v e b e e n g e n e r o u s l y r e c o p i e d i n c o n c e r t p i t c h s k e t c h - s c o r e f o r m f o r e a s e i ns rud l ' . I n add l t l on , t he exac t cho rd symbo ls o f each pass ing , subs t i t u te , and ex tende r l c ' ho rdra r -e been added on a spec ia l s ta f f o f t he ske tch sco re wh i ch i s l abe led "ha rmon ic de ta i l s . "

R e m e m b e r t h a t t h e r u l e s o f w r i t i n g w h i c h a r e n o t e d a r e n o t l i t e r a l r u l e s f o l l o w e d b 1 -: h e w r i t e r s , b u t a r e s u m m a r i e s o f t h e p r a c t i c e s t h a t t h e i r e a r s a n d e x p e r i e n c e s h a v e l e d: h e m t o f o l l o w . I n m a n y c a s e s t h e w r i t e r s ' n a y n o t t h i n k o f t h e i r w r i t i n g i n t h e s e t e r m s ,bu t anyone want ing to learn the secre ts o f f ine wr i t ing shou ld s tudy the i r cons is ten t meth-r . l r n q r o f r r l l r r C O n C e n t r a t e O n r e l a t i n g t h e S O U n d O f t h e s e S C o r e S t O t h e a n a l y s e s g i y e l .

Obvious ly each reader w i l l d ig ou t answers to sa t is fy h is /her own cur ious l ty , bu t these. u i d e l l n e s a r e s t r o n g l y r e c o m m e n d e d i n u s i n g t h i s b o o k :

1 . L is ten to the record ings o f these ar rangements . Hear ing them makesa c ruc ia l d i f fe rence. A11 8 o f the char ts s tud ied here are inc ludedon an Inside The Score cassette recording which is avai lable fromKendor . Each o f the char ts was a lso recorded on an ear l ie r a lbum:

"BASIE - STRAIGHT AHEAD-(Coun t Bas ie & H is Orches t ra - Do t DLp -25902 )i n c l u d e s " B a s i e - S t r a i g h t A h e a d " a n d " H a y B u r n e r "

'cot{suMMAT | oil '

(Thad Jones/Mel Lewis Orchestra - - B lue Note #9113116)i n c l u d e s " U s "

' 'MONDAY N IGHT"(Thad Jones/ l . le l Lewis Orchestra - - Sol id State # lgOl tg)i n c l u d e s " K i d s A r e P r e t t y p e o p l e "

'THE JAZZ ORCHESTRA-(Thad Jones /Me l Lew is Orches t ra - So l i d S ta te #1g00g )i n c I u d e s " T h r e e A n d O n e " a n d " A B C B l u e s "

"BOB EROOKMEYER - CO}.IPOSER & ARRANGER"( l . l e l Lew is Jazz Orches t ra - - G ryphon G912)inc l udes "He l I o & Goodbye , ' and

- , ' F i r s t Love Song"

The comp le te se t o f pa r t s f o r each cha r t i s a l so ava i l ab le f r om Kendor .

2 . P lay t he vo i c i ngs a t t he p iano many t imes to abso rb t he sound and appea ranceo f t hem.

3 . G o s l o w l y - - d i g e s t o n e b i t e a t a t i m e l

Rayburn l l r ight

Sammy Nestico

S A M M Y N E S T I C 0 , c o m p o s e r a n d a r r a n g e r f o r s o m e o f t h e m o s t s i g n i f i c a n t C o u n t B a s i e a l -3 u m s . i s p r o b a b l y o n e o f t h e m o s t g i f t e d w r i t e r s e v e r t o h i t t h e j a z z b a n d s c e n e . A f t e rg ' a d u a t i n g f r o m D u q u e s n e U n i v e r s i t y i n h i s h o m e t o w n o f p i t t s b u r g h ( p A ) , h e s e r v e d f o r l 2y e a r s a s a r r a n g e r f o r t h e A i r F o r c e " A i r m e n 0 f l { o t e " b a n d . L e a v i n g t h a t p o s i t i o n , S a m m yt h e n b e c a m e c h i e f a r r a n g e r f o r t h e u . S . M a r i n e B a n d ( o f t e n c a l l e d T h e p r e s i d e n t r s O w n ) i nl Y a s h i n g t o n ' I n a d d i t i o n t o h i s e x p e r i e n c e w i t h t h e s e o u t s t a n d i n g m i l i t a r y g r o u p s , h e h a so l a y e d t r o m b o n e w i t h t h e C h a r l i e B a r n e t , T o m m y D o r s e y , w o o d y H e r m a n , a n d G e n e K r u p a b a n d s .H e n o w I i v e s o n t h e W e s t c o a s t a n d i s i n c o n s t a n t d e m a n d a s a w r i t e r f o r s c h o o l s , r a d i o ,t e l e v i s i o n , f i l m s , a n d r e c o r d i n g s .

T H E P U B L I S H E R

"Basie Straight Ahead"

by Sammy Nestico

recorded on the I ] {SIDE THE SCORE casset teand on "BASIE - STRAIGHT AHEADn (Count Basie t His 0rchestra - Dot OLp*ZSSOZ)

I t i s easy to t ake fo r g ran ted the ve ry na tu ra l g rooves gene ra ted by Nes t i co ' s a r t f u l l l -

s i . m p l e w r i t i n g , b u t a c a r e f u l e x a m i n a t i o n o f h i s s c o r e s r e v e a l s h o w m u c h t h e r e i s t o b e

l e a r n e d f r o m t h e m .

MELODY

Bos ie - S t ra igh t Ahead i s cons t ruc ted on a 32 -ba r AABA se t o f cho rd changes " Bu t l i ke

many o the r Nes t j , co compos i t j . ons , i t i s no t s imp ly a head , cho ruses , and head . The beg inn ing

m e l o d y i s n c v e r b r o u g h t b a c k a f t e r i t s f i r s t s t a t e m e n t . I n t h e l e a d s h e e t w h i c h f o l l o w s .

n o t e t h e d e t a i l - s o f s t r o n g m e l o d i c c o n s t r u c t i o n . M a n y t u n e s f a l l a p a r t f o r l a c k o f s u c h

s t r o n g c o n s t r u c t i o n .

No te t he con tou r o f t he me lody . I t s ta r t s re laxed and qu ie t , i n tens i f y i ng i n t he b r i dge

u n r i l b a r 3 1 w h e r e i t p e a k s a s i t b e g i - n s t o m o d u l a t e b a c k t o t h e k e y o f C v i a t h e I I " : - ,

a n d t h e n e a s e s b a c k t o t h e r e l a x e d q u a l i t y o f t h e b e g i n n i n g ( s e e E x a m p l e 1 ) ' T h e m e l o d i c

use o f cho rd 9 ths , 1 l t hs , and 13 ths g i ves t he me lody a re f resh ing sound aga ins t t he unex -

rended suppo r t i ng ha rmony , wh i l e ma i .n ta in ing a ve ry s imp le ove ra l l qua l i t y .

The f j . r s t , second , and fou r th 8 -ba r ph rases s ta r t w i t h l oose l y re la ted ve rs ions o f t he

same me lody (A , A t , Az ) , bu t t he l as t ha l f o f each ph rase i s j . den t i ca l , pu l l i ng t he fo rm to -

ge the r . Each o f t hese ph rases s ta r t s on the IV cho rd and ends on the ton i c , bu t t he b r i dge

m o d u l a t e s t o t h e s u b d o m i n a n t ( F ) t h r o u g h a I I p r r T - V 7 p r o g r e s s i o n , t h e n t o G a n d b a c k t o C .

The b r i dge cho rds f o r t he so lo cho rus (F ) a re s l i gh t l y d i f f e ren t , bu t t he f ee l i ng o f t ona l -

i r l ' i s t he same.

The f i r s t f ou r ba rs o f t he b r i dge se t up a J . pe rmu ta t i on , wh i ch j , s sequenced fou r ba rs

la re r bu t rhy thm j . ca l l y d i sp laced by on " . l | . O the r sequences o f r hy thm ic ce l1s a re po in ted

ou t i n Exanp le 7 . These rhy thm ic va r i a t i ons a re va l -uab le means o f keep ing the w r i t i ng i n -

t e r e s t i n g b u t s i m p l e .

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FORM OF THE ARRANGEMENT

The overa l l fo rm inc ludes four choruses p lus the in t ro and an ex tended end ing . In thefo l low ing char t o f dynamic contours o f Bos ie - S t ra igh t Ahead, no te the cont ras ts , the se-quences o f tens ion and re lease, and the bu i ld f rom@to the end. A f te r each shor te r bu i ld -ing sec t ion , no te tha t the dynamic d rops back s l lgn t tv to g ive room to bu i ld aga in .

T h e r e a r e t w o m o d u L a t i o n s . T h e f i r s t , u t E l d i r e c t l y a f t e r t h e r e l a x e d f i r s t c h o r u s ,k icks the exc i tement up a no tch as the ensemble shouts fo r 9 bars in to the tenor so lc . Thesecond modu la t ion breaks up the regu la r l t y o f the 32-bar fo rm by modu la t ing up a fu l l s repon the second 8-bar phrase o f the las t chorus . Th is i s espec ia l . l y e f fec t i ve s ince j . t fo l -l o w s a s o f t e n s e m b l e t r w h i c h s w e l l s i n t o t h e n e w k e y a n d s h o u t s f o r B b a r s b e f o r e t h es u d d e n l y s o f t e r p i a n o s o l o .

Note the effect iveness of the twoa h e a d 4 - b e a t f e e l : t h e f i r s t b r i d g et l m e ' t a g s .

spots where the rhythm sect ion breaks up the straight|T ] and i t s recap (bar 145) as one o f the .one mol .

L i s t e n t o a r e c o r d i n g o f t h e p i e c e a s y o u f o 1 l o w t h i s d y n a m i c c o n t o u r c h a r t .

EXA\IPLE 2

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OF WAY THROUGH

RE-USE OF MATERIAL TO UNIFY THE ARRANGEMENT

uan l - re -uses o f mater ia l a re no ted in the score . The rhy thn l i c permuta t ions f rom barsl 3 - 3 { a r e r e - u s e d i n b a r s 5 9 - 6 0 a n d i n b a r 2 0 . A f e e l i n g o f f i n a l i t y i s a c c o m p l i s h e d a t- : ' = : : r c i n g b y e x t e n d i n g t h e f o r m , e v a d i n g t h e n o r m a l c a d e n c e a n d g o i n g i n t o a s e r i e s o f: - - " = : a g s b u i l t o n t h i s p r o g r e s s i o n : r r r l r T v 7 r r r u r 7 v r l . E a c h o n e b r i n g s b a c k a m o -- - - ' - : i rom ear l ie r in the ar rangement and the las t one br ings back the power fu l f ina l shout-^=- : : f rom bar 121 ' These l im i ted re -uses o f ear l ie r mater ia l un i fy the ar rangement w i th -- - : : ; ' . ' e rdo ing the process to the po in t o f p red ic tab i l i t y .

vof ctNcs

\ e s t i c o ' s e n s e m b l e u o i c i n g s s e e m s y n o n y m o u s w i t h t h e B a s i e s o u n d . T h e i r c o n s i s t e n t- - - " - : l - r ' a n d s o l i d i t y r e s u l t f r o m t h e c a r e f u l u s e o f g o o d r e g i s t e r s f o r i n d i v i d u a l i n s t r u -- : : : s and f rom wr i t ing each sec t ion to sound harmon ica l l y comple te i f heard a lone.

I n t h e e n s e m b l e v o i - c i n g s , t h e t r u m p e t s a r e i n v a r i a b l y i n c l o s e p o s i t i o n ( n o m o r e t h a n: : ' . : ta r -e be tween top and bo t tom t rumpets ) . The saxes and t rombones are e i ther in c losed: pen r -o ic ings . The concer ted ensembles fa l l in to th ree types :

1 ' C L A S S T C B A S r E 4 - P A R T V O I C r N G - - u t E ( E x a n p l e 3 a b e l o w ) w h e r e t h e f o u rt r u m p e t s ( i n c l o s e d b l o c k v o i c i n g ) a r e d u p l i c a t e d b y t h e t r o m b o n e s a n d s a x e sone oc tave lower , and the bar i tone sax p lays the Lead l ine two oc taves lower .These four no tes need no t inc lude the roo t , bu t aLmost a lways inc lude the 3rdand ? th (o r 6 th ) . Th is i s one o f the th ickened. l tne vo ic ings where a1 l vo icesm o v e p a r a l l e l t o t h e l e a d v o i c e . r t s p o w e r c a n f o o l u s i n t o t h i n k i n g i t i sm o r e c o m p l - e x t h a n i t i s , a n d i t i s u s e d a l m o s t e x c l u s i v e l y i n b i g b a n d s l t u -a t i o n s l i k e t h i s o n e .

EXAMPLE 3a EXAMPLE 3b EXAMPLE 3c

8 A 3 I c . E N S E I V B L E

I

?RPrs. I

TRgs. SAXES

B A S I € 1 - P A R T C O M B T N A T I O N

2 . B A S I C E N S E M B L E / e R S f C C H O R A L E V O I C I N G ( E x a n p I e 3 b a b o v e ) - - t h e t r o : . i r , : =

and sax vo i c i ngs a re opened up and a re cons t ruc ted f rom the bo t tom up : c l : - -

c l u d e t h e r o o t ( u s u a l l y ) , t h e 3 r d , a n d t h e ? t h ( t h e b a s i c t o n e s ) . T h e i r : = : -

va l be tween the bass vo i ce and the nex t vo i ce j , s usua l l y l a rge r t han the o : i . j : s

( a 5 t h o r ? t h ) . T h e v o i - c e s d o n o t a u t o m a t i c a l l y m o v e p a r a l l e l t o r h e L t a i , : s

i n t h i c k e n e d l i n e v o i c i n g s , b u t m o v e i n d e p e n d e n t l y t o b a l a n c e t h e s o r . e t ^ : . : s

con f l i c t i ng requ i remen ts o f good vo i ce 1 -ead ing and good sono r i t y ( see ba r 121

T h e t r u m p e t s a r e t y p i c a l l y i n t h r e e p a r t s w i t h t h e l e a d v o i c e d o u b l e d a l . , t : -

t ave l ower , o r f ou r pa r t s c l osed as seen i n ExanpLe 3c .

3. A combi .na t ion o f the above two (Exanpte 3c above) - - the brass are in - l -F : : ' :

c losed vo ic ing wh i le bar i tone sax p lays the chord bass and the o ther sa \es : : ' - lspread in bas ic ensemble type vo ic ings .

As fo r sax vo i c l - ngs , t he sax so l i ( ba r 80 ) i s j - n { -pa r t , d rop -2 vo i c i ng w i th t he r . e i - i "

d o u b t e d a t t h e o c t a v e . T h i s i s c o n s t r u c t e d b y t a k i n g a c l o s e { - p a r t v o i c i n g , d r o p p i t t g : : . =

second vo i ce f r om the top by an oc tave , and add ing the oc tave doub l i ng o f t he me lcd l ' , s : - l

Exanp le 4 ) . One o f t he mos t a t t r ac t i ve aspec ts o f t h i s vo i c i ng i s t he r i chness o f t he ba : ' 1 -

EXAMPLE 4

CLOSE4-PARTBLOCK

FnqtT

4-PART, DROP-z T{ITHMELODY DOUBLED 8VB r

B A S I CCHORALE

4-PARTDROP-2

4.PARTDROP-2W I T H 8 V BMELODY

t o n e s a x p l a y i n g t h e i n t e r v a l o f a 1 0 t h o r 9 t h w i t h t h e l e a d a l t o . T h e s a x e s g o i n t , l r .

Supe rsax -s t y l e vo i c i ng (4 -pa r t b l ock w i t h an oc tave -doub led l ead ) i n ba r 91 when thc t ' z rn : .

o f t h e l e a d v o i c e g o e s i n t o t h e l o w e r r e g i s t e r . T h e s h o r t s o l i i n b a r s 1 3 9 - 1 4 0 i n c l u t i . - -

open bas i c cho ra le t ype vo i c i ngs , wh i ch a re more o f t en found i n suppo r t i ng pads than i n so i t

passages (Exanp Ie 5 ) .

EXAMPLE 5

5-PARTDROP 2&4

o

B A S I CCHORALE

1 0

IIIIIIIII

I

II

I

bass doubl ing

I n r - o i c i n g t h e h o r n s i n b a s i c e n s e m b l e s t . v l e . N e s t i c o a v o i d s d o u b l i n e t h e b a s s v o i c e: :s ide the harmony in the nex t oc tave above the normal bass range (Exanp le 6 ) . In the 4-: : :e th ickened lLne vo ic ing , however , bass doub l ing is used on occas ion , no mat te r how low: : e b o t t o m v o L c e g o e s .

EXAMPLE 6Ab-r? C:m,7

AVOIOED

HARMONY

The Bas j .e s ty le ca l l s fo r t rad i t iona l jazz harmon ies and th is t rans la tes in to p redomi -: . : : :11- 4-part harmony in the horns (used over 2/3 of the t ime, the rest being S-or-more part- : - , : : i s ) , whether in b lock or spread vo ic ing . Th is cont ras ts w i th Thad Jones ' more ex tended: . : : :on) ' where there are few 4-par t harmon ies to be found in the ensembLes and on ly l /3 o f: : , ; : i ne in the sax so l i s .

\ l inor 2nd dissonant gr i .nds within the harmonies are not a common feature of the Nest ico-i : s : : s t1 ' le as they are in Jones ' and Brookmeyer ' s wr i t ing . They occur in Bos ie - S t ra igh tl . - .e ; . , - i on ly on the occas ions when a major ? th i -n te rva l be tween the lead and four th vo ices: : : - : e s a m i n o r 2 n d w h e n t h e l e a d i s d o u b l e d a t t h e o c t a v e ( E x a n p l e 7 ) .

EXATIPLE 7

I F-%) (r*"4

1 1

r{txTNORMAL ocrAvt

SASS C,AN6E

' / b t \ty l t ?nd

' )

u t ? n d

r L -

pass ing chords

P o s s i n g c h o r d s a r e c h o r d s u s e d t o h a r m o n i z e a l t e r n a t e n o t e s o f s c a l e w i s e m e l o d l . l i n e sto g ive mot ion to the suppor t ing par ts . They are no t used in these Nest ico scores as f re -quent ly as in the Jones and Brookmeyer scores . In some cases when the lead vo ice mo\ -es . achange o f chord invers ion prov ides no te changes in the suppor t ing par ts (see bars +8-+g) andno pass ing chords are used. The ornamenta l (pass ing) chords most used by Nest ico are :heh a l f - s t e p p l a n i n g c h o r d s , w h e r e a l l h a r m o n y n o t e s p L a n e b y a h a l f - s t e p i n t o t h e a r r r v a .c h o r d w h e n t h e m e l o d y m o v e s b y h a l f - s t e p ( b a r 3 5 ) . I n o t h e r p l a c e s o f s c a l e - w i s e m e l o d i :m o v e m e n t , N e s t i c o l e a v e s r e p e a t e d n o t e s i n s o m e v o i c e s ( b a r 4 5 ) , g i v i n g h i g h e r p r i o r i t l ' : okeep ing the bas ic chord sound ing than to p rov id ing mot ion in the suppor t ing par ts .

subst i tute chords

Subs t i tu te chords (a l te ra t i ,ons in thegood e f fec t . Note the d i f fe ren t harmonyturnaround tags s ta r t ing a t bar 13?.

bas i c cho rd changes ) a re used spa r i ng l y bu t w i t hu s e d t o g i v e a f r e s h s o u n d i n e a c h o f t h e f i r - e

I n t h e c o m p l e t e s c o r e w h i c h f o 1 l o w s , t h e p o i n t s o u t l i n e d p r e v i o u s L y a r e h i g h l i g h t e d .M a n y p o r t i o n s o f t h e s c o r e a r e r e d u c e d a n d c o p i e d i n c o n c e r t p i t c h t o h e l p i n a n a l S . s i s .Fo l l ow the sco re as you l i s t en to a reco rd ing .

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n o d e r o t e l g o P e n b o t i c c h o r d

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u o i c i n g : t r u n p e t s t r i o d i c w t t hl t n g c t q o e - d o u b l i n g t h e l s r : t r o n -o o n e t - o p e n . 4 t h s h i g h i , o x e s o p e nt n t o u r Q g i S t e r

"Hay Burner"

by Sammy Nestico

recorded on the I I {SIDE THE SC0RE casset teand on I IBASIE - STRAIGHT AHEAD' i (Count Basie t His 0rchestra - Dot DLP-25902)

MELODY

Hay Burner is an AABA 32-bar form wi th a 2-bar tag extension added in i ts f i rs t appear-

ance . Eve ry th ing abou t i t l s s imp le and unp re ten t i ous . The tune ' s coun t r y f l avo r i s sup -

p o r t e d b y t h e l a z y t e m p o , t h e t w o - b e a t f e e l , a n d b y t h e c a d e n c j . a l u s e o f t h e b V f f V 7 I

f o u n d i n t h e f o u r t h b a r o f t h e p h r a s e r a t h e r t h a n t h e m o r e c o m m o n I I u r T V 7 I p a t t e r n ,

2 6

FoRErcN bE eepr -Ac ts Erqr?lN cAoENcE. TH|S rs Boce,oweoFeoM DowN-l{OtYle qou|\,fc.Y ANO}r 'ESTTCN SONES.

A v r Grt,7,/c \ r b c '

Anrr G - , a g bt

A r , 7 D v , ? 6 r ( b e )

A w r sb

A t-1, G - , t 6b A - , 7 D r w , 7 - - f

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v - - - - v - -

< 62 6

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t : =

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3 0

GA - , t B b %. D - ' t -

E D C '

^ l - A ^ 1A w r r ' U M t ' ( r ' G-,7C

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g t (#a ) ^ - 7L l '


T h e a r r a n g e m e n t i s t h r e e c h o r u s e s l o n g p l u s a n i n t r o , m i d d l e t r a n s i t i o n ' a n d : : : ^

' - : I ike Basie - straight Aheacl, Hay Burner doesn't modulate' The contrasts are in fee^ :

l -beat to 4 -beat ) , in co lo r ( f rom the f lu te /harmon muted t rumpet to fu l l open shouts ' '

: the dynamic cont , ras ts be tween fu I l shouts to sudden ly qu ie te r spo ts fo r Bas ie 's p^ '

Note tha t , a f te r p lay ing the 8-bar b r idge u tE l , the sax so l j , c .on t inues over reFr ra : : l

: . idge chords ra ther than over those o f the las t &bar sec t ion . Thrs g ives the impress . : ' : .

. : c o n t i n u i n g t h e S e q u e n c e o f t h e Z - b a r p h r a s e s w i t h i n t h e b r i d g e f o r g r e a t e r m o l r . i l : . _ .I imed ia te ly a f te r tha t the band bu i lds th rough a t rans i t ion on a C peda l in to the sho: : - ' :

I f y o u l i s t e n t o t h e o r i g i n a l B a s i e r e c o r d l n g o f H a y B u r n e r , Y o U w i t l n o t i c e s o m e . : : . : ::od i f i ca t ions tha t were made in the pub l ished vers ion wh ich is ana lyzed here . These . \ : : . :

ione to make the char t more success fu l w i th schoo l p layers ' Th is b r ings up a good po1: ' : :

: h e b e s t w r i t i n g f i t s t h e t a l e n t s o f t h e p l a y e r s ' T h e B a s i e v e r s i o n w a s w r i t t e n f o r f : ' ' - -

:ess iona ls ; the pub l ished vers ion was mod i f ied to ge t the bes t sounc is f rom schoo l g rou !> '

. ' l imax at

The dynamic

o o s i t i o n o f t h e

c o n t o u r c h a r t ( E x a n p L e 2 ) s h o w s t h e c o l o r a n d t e x t u r e s e q u e n c e s , a n d t i l , :p r i n c i p a l c l i m a x .

EXAMPLE 2

IIVTRO

FLUTE/1{UTEDRHYTI I { SECTI0 I I TRP. (8vas)

TR0r,rB0llEsSHUFFLE

EASY 2-BEAT FEEL

KEY OF F THROUGHOUT

I rsr cfloRus

@

I 2IvD cItoRUs

@IDGEBR

@TRP.

SAXES

ult ts.SAXESPLGR.TRPS. P lAll0

s0L0UI IS. 2 ALTOS/OPEII TRU}IPETS

SPARSE SAX/TRBc0t1P

C PEDALTRCIVSI TIO]V

TRP. /TRB.R I F F S

SAXESUI I I S . UAIL

FLUTE/}IUTEDTR0l,r80lES &

COHP

EXSEiALE SHOUT

BRI

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@BRIDGE

TRP. /TRB.

ull I s. sAx

RECAP LAST 8OF IST CHORUS

EI{SE}ALE SHOUTR I

PIAI{O SOLO

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( 2. BEAT)

vorc|NGs

r :e ensemble vo ic ings d iscussed in the prev ious Bas ie - S t ra igh t Ahead sec t ion are a lso" ' := j in the Hay Burner score wh i .ch fo l lows. The lead t rumpet in the ensemble passages is

- : ' - r :a : t1 . r - doub led an oc t ,ave lower (no t necessar i l y by a t rumpet ) , as in Bas ie - S t ra igh tj ' - - : : . The t rombone sec t ion p lays impor tan t t rans i t iona l and comping passages a lone, a l t- : . - - : ' sed 4-way vo ic ing (bars 24 , 61-63 , ?5) except fo r the shuf f le f igure in bar 16 , wh ich- s - : o p e n t r i a d s .

sax vo ic j -ngs o f the so l i u tEJare a lso the same as those in the sax so l i o f Bas ie -\head' They are 4-part drop-2 with the lead doubled at the octave. The few chords

e par ts a re no ted . The cons is ten t ly doub led lead he lps keep the focus on the r i ch-pro jec t ion o f the lead l ine ra ther than on fancy vo ic ings .

bass doub l ing

F' : r 70% o f the t ime, Nest ico aga in avo ids doub l ing bass no tes in the nex t h igher oc tave- : - = - j : t h e h a r m o n y w h e n h e i s u s i n g b a s i c c h o r a l e t y p e v o i c i n g . I n a l l v a r i a t i o n s o f t h e: : - - : . : : : red lLne vo ic ing , he doub les bass no tes f ree ly in any oc tave .

HARMONY

Pass ing chords are aga in used in f requent ly , w i th invers ions be i .ng used ins tead ( these: : : : - , : e d i n t h e s c o r e ) .

' - i t

: i r -z - o A

2 9

lst Alto

2nd

Ist

2nd Tenor

Baritone

E a s y s w i n g ( J = t 3 e )

HAY BURNER

. - 1 ( b c \ . 1

s*;l

--r.pt. I

Trbs

3rd4th

lst

D 7F 2,/c r /-l %

r e l o x e d ) - b e o t t e e l i n b o 5 5

FIRST 8

sfif

lst Alto

2nd

lst Tenor

Znd

Baritone

Trp t s

3rd4th

ls t

Trb s

c1

CoPYR|GHT e 1968 8Y EAiES TUSIC - USEo 8Y PERNISSIo i lALL RIGHTS RESERVED - - I ITERIAI IOIAL COPYRIGHT SECURED

E s t i e ' s r e c o r d e d v e r s i g n l e a t u r e t8 v o t l u t e u / h o r n o n - n u t e d t r u n q e t

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BRIDGE

n e l o d i c ' b l u e n o t e ' ( A b ) d o e , n o t

h o u e t o t i t u n d e r l g i n g h a r n o n q

I t r o f r b o n e p q s s i n q- F - = . h o r d t s C : t b e t - .

> t e c o n d o r q V 7 t ot h e l o l l o a i n g F e

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lst

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2nd

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G t 3 ( f r r )

i n p o c t c h o r d s p r e o d s t o 6 - p a r t c h o r d ;n e l o d u l 3 t h E # l l t h c o n f i r n e d i n t u 5 -

t q i n e d h a r n o n q - n o 5 t h i n l l t h c h o r d

t r u n p e t A t r i o d i n G 1 3 i t t y P i c o l o li l u c h o f I h o d J o n e s ' w r i t i n g

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f i l l n e l o d U b a s e do n I a s t p h r o s e SECOND CHORUS

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Sammy Nestico interview

Ra-r ' Wright: Are you cont inuing to voice ensembles for Basie as you did in these two charts?

- ic ,nmr ' \ ' es t i co : l le l l , tha t uo ic ing where you doub le the t rombones exac t ly under the t runpets ,I don' t do that much anymore, but i t 's one of the ways to do i t and the young arrarugerss h o u l d k n o w i t . N e a L H e f t i d o e s t h a t a l o t a n d i t ' s g r e a t . M o r e a n d n o r e I l i k e t h a tt r i a d u o i c i n g i n t h e t r u m p e t s w i t h t h e f o u r t h t r u n p e t d o u b l e d , o u e r a c l u s t e r i n t h et r o m b o n e s , L i k e y o u p o i n t e d o u t i n y o u r o n a l y s i s ( H a y B u r n e r , b a r 8 3 ) . I u s e t h a t aL o t . I r e a L L y h e e p i t s i n p l e .

Rtt: But tha t ' s a lesson in i t se l f because i t ' s so e f fec t i ve . The young wr i te rs need to un-ders tand tha t i t doesn ' t take a mi l l ion ex t ra no tes in a chord to be e f fec t i ve .

S \ ; Y e s , I ' m s t i l l t r u e t o n y a i n f o r s i n p l i c i t y . I u s e d t o u r i t e u e r y c o n p l i c a t e d . T h e

o l d e r I g e t , t h e n o r e I g o b a c k t o s i n p l i c i t y .

RIV: That ' s in te res t ing ; when were you wr i t ing compl ica ted?

- S , \ ; I w a s i n t h e s e r u i c e a n d i n t h e f i f t i e s a n d e a r l y s i x t i e s w r o t e t h e S u i n g p h o n i c S e r i e s- - n L o n d o n B r i d g e I s F a l l i n g D o u n " i s o n e o f t h e n . I u s e d t o u r i t e a l o t o f c o n p l t -

c a t e d s t u f f . L i k e n o s t y o u n g p e o p l e , I t r i e d t o w r i t e e u e r y t h i n g I k n e u i n t h o t o r t e

c h a r t .

B i L l F i n n e g a n i s n y i d o l a n d h e ' s a p r e t t y c o n p l i c a t e d w r i t e r . T h e n I ' r l k e e p g e t t t r t g

s i n p l e r , a n d t h e n I s t c L r t e d w r i t i n g f o r B a s i e . A r u d h e ' s s u c h a s i n p l e n a n . / I e p l o r ' .

s i n p l e p i a n o , a n d h e ' s b e a u t i f u l , b u t t h e r e ' s a c h a r m a b o u t i t . I t ' s d i f f i c u l t t o u , r ' i t , 's i np le and good .

I s t a r t e d g e t t i n g o u t n y e r e s e r a n d a f t e r I w a s d o n e , r a t h e r t h a n a d d i n g t h i n g s , l ' , !L o o k a t t h e s c o r e a n d h e e p e r a s i n g t h i n g s o u t o f i t . S o I f i n d t h a t t h a t ' s n y s t l l en o w a n d I L i h e i t .

What can you te1l young wri ters about what your pr ior i t ies are when you start out on anew chart?

S I : W h o c a n s a y w h a t i s t h e b e s t w a y ? I ' n r e a l l y k i n d o f s e l f - t a u g h t b e c a u s e e u e r y t t n e I

wen t t o a t eeche r he s ta r ted me ou t on I_ IV_V cho rds and the V I |T and a l l t ha t and t t

neue r qu i t e f i t i n to t he bag tha t I was t r y i ng t o w r i t e i n . So I haue my oun u )e \ , \ L ) lgo ing abou t t h i ngs .

I n o r n a l l y d o n ' t w r i t e n y i n t r o d u c t i o n u n t i l L a s t , b e l i e u e i t o r n o t . I s t a r t o n t h o

f i r s t c h o r u s a n d i f I u s e a n y m c l t e r i a l a t a L L t o g e t t o t h e s e c o n d c h o r u s , I g o l , , t c k

and use th i s na te r i a l f o r ny i n t roduc t i on and fo r t he end ing . Tha t t i es t he who le a r -r a n g e m e n t t o g e t h e r , m a h e s i t c o r r e l a t e d . I t n i g h t b e i n d i f f e r e n t k e y s , b u t I d o t h q tso i t sounds cons i s ten t . I r enenbe r i n n l y ea r l y days i t n i gh t haue taken two o r t h rezdays to w r i t e an a r rangemen t and eue ry day I f e l t d i f f e ren t and tha t nade i t i ncons r ' -t en t . Sone th ings fe l t good i n 4 and the nex t day i n 2 , and ny f i gu res ue t ' en ' t cons i r -t e n t . S o n o w I t r y t o t i e i t t o g e t h e r , t o f i n d s o n e t h i n g t o h a r u g n y h a t o n .

RI l :

4 2

1 , i

I : t ' so f i nd t ha t i f r s ta r t w i t hou t an i d .ea o f wha t rn go ing to d ,o , a p lan , r s i t he re- " : e i e r t r y i n g t o . d o : ! : B u t i f I h a u e a p l a n r r o J , ' F i r s t c h o r u s t h i s , s e c o n c J c h o r u s: ; ' t ' : , I ' l l d o t h i s , r ' r r g o t h e r e , ' t h e n a t r e a s t r h a u e s o n e t h i n g t o g o b y , a m o d . e r .E ' - e r t ' t i n e I d o n ' t h a u e t h a t p l a n a h e a d o f t i n e r s t t h e r e l o o k i n g a t p a p e r . l t , s a' - ' ' t ' ' eu ' o r k t o f i nd ou t wha t I ' n go ing to say i n t ha t a r rangemen t , o r who ,s go ing to be: - . e f e a t u r e d s t a r , o r a m I g o i i g t o n o d . u l a t e , o r w h a t e u e r .

B ; : I t h i nk nY bes t a , rangemen ts a ,e t he ones tha t I s i ng i n t he ca r , somewhere auay' - ' o - t h e p i a n o '

! s i n g , t h e n e l o t l y ; i f t h e n e l o d y s t a n d , s b y i t s e L f , I , r , e g o t i t n a 4 e .J - : c l ' s i t bas i ca l l y f o r Bas ie ; r t r y t o ge t a f i ne ne lody a id b lo r i i t oJ f and , wo rk f o r: - i n s r n g f i g u r e s .

r t i a t do you ge t f r om F innegan?

I ' t i I l l o u e h i n ; h e ' s m y f a u o r i t e . I I i s h a r m o n i c s t r u c t u r e s , h i s i n u e r s t o n s o f c h o r d . s ,' ' : ' o r c h e s t r a t i o n , I l o u e w h a t h e d . o e s , I t ' s c L a s s i c . H e c r e e p s i n t o n y w r t t i n g . y o u< ' ' o ' : I t e l l k t d s Q t c l i n i c s , ' l l h a t , h a p p e n s

i s y o u p i c k o u t f o u r o r f i u e f a u o r i t e w r i t -: ' ; a n d e n L u l a t e t h e n . L i t t l e b y l i t t l e , t h e s e t i t t t e p i r r " , o y t i " r " w r i t e r s b e c o m e' . ) ; - r . I t ' s n o I o n g e r s o m e o n e e l s e , i t ' s y o u . t

r t ' ' c o u r s e , e u e r y o n e o n l y a s s o c i a t e s m y w r i t i n g w i t h B a s i e , b u t I ' u e w r i t t e n h u n d , r e d s o f' i i ' r r l s f o r s t r i n g s o r f o r t e l e u i s i o n , b u t p e o p L e c l o n ' f c s s o c i a t e i t w t t h n e . B u t I , n: j : r t l L e d t o w r i t e f o r B a s i e ; I t h i n k h e ' s t h e g r e a t e s t g u y i n t h e w o r I d . .

i l t a t ' s vou r f ee l i ng abou t f o rm? wha t abou t cha r t s t ha t p lay t he tune , j azz so los , and: ' ! cap the tune? you don ' t seem to do tha t .

I c q r t ' t d o t h a t ' I w r i t e a n e l o d y t h e f i r s t c h o r u s a n d . t h e n I n e u e r g o b a c h t o i t . I: t k e t h o s e c h o r d s a n d w r i t e q n e w m e l o d , y o r a u a r i a t i o n f o r t h e l a s t c h o r u s . y o u , r et r - \ r n g t o n a k e s o n e t h i n g i n t e r e s t i n g .

Tha t makes me wonder whe the r t he changes come f i r s t f o r you o r t he me lod ies?

T h Q t ' s a g o o d p o i n t ' I f I ' n i n t h e c a r a n c l a n e l o d y c o m e s t o m e , t h e n i t , s n o t f r o nihe changes ' Bu t I ' ue done i t bo th ways . I ' ue euen taken change ,s f r on o ld , s tanda rc l s' i t k e D i z z y G i L L e s p i e d i r t ) a n d . w r i t t e n n e w m e L o d i e s t o t h e n .

B ' t ' i c a l L y y o u a n a l Y ' z e d m y t h i n g s u e r y w e r r . I ' m s t i r r t r y i n g t o: , r l e n l s o J ' w h a t e u e r b a n d I ' m w r i t i n g f o r a n d t o s t a y c o n s l s t e n t .r , e o p l e a r e a s k i n g f o r m o r e ,

w r i t e f o r t h e s p e c i a lI ' n rea l l y happy tha t

4 3

TIIIIII

Thad Jones

THE PUBI-ISHER

THAD J0l lES rrote h is f i rs t arrangenent rhen he ras l3 years o ld - - he and h is brother (p ianis t HankJones ) bo th p layed i n t he b ig band t t a oy t he i r unc le i n t he i r na t i ve pon t i " r , l l i ch igan . A f te r se rv ing i nthe A r r y (1943 -46 ) ' l ead ing h i ' o ,n band . i n 0k laho ra c i , y , . na p lay ing r i t h B i l l y l l i t che l l r s band i n De -t ro i t ' Thad j o i ned the coun t Eas ie band i n 1954 . i ; " r ; ; ' ; . r r o te a f e r cha r t s du r i ng h i s n ine yea rs r i t hB a s i e ' T h a d r s r u s i c d i d n r t r e c e i v e t h e r e c o g n i t i o n i t d e s e r v e d u n t i l 1 9 6 5 r h e n h e a n d , e r L e r i s f o r r e dthei r farous Jazz 0rche-st ra. p lay ing every l londay n ight in i ler york Ci ty ,s Vi l lage Vanguard c lub and cut_t i ng a l ong I i s t o f po l l - r i nn ing 'a lb "uns , t he Thad Jones / i l e l Le r i s Jazz 'o rches t ra don ina ted the b ig bandscene fo r 13 yea rs ' I n 1979 rhad and l l e l ven t d i f f e ren i r . y r , " nd i n 19g6 the i n te rna t i ona l j azz conmun-i t y rece i ved the ne rs o f I had rs dea th i n Copenhagen , Den ra rk .

4 5

"Three And One"

by Thad Jones

recorded on the I I {SIOE THE SC0RE casset te

and on nTHE JAZZ 0RCHESTRAIT ( thad lones/ l le l Ler is Jazz orchestra)

Th ree And One i s a c l ass i c Thad Jones compos i t i on , i nc lud ing i dea l examp les o f h r s s : - r -

so l i w r i t i ng , ensemb le w r i t i ng , and i nven t i ve de ta i l s i n f o rm . I t shows Thad ' s me lcd l : a . :

and tune fu lness , and h i s e legan t way o f vo i c i ng bas i c ' down-home" I i nes .

MELODY

The 32-bar me lody is s imp le and s t rong. I t s puck ish charac ter f i t s the t r io o f fear ' ; := l

i -ns t ruments and the p layers who or ig ina l l y recorded i t (Pepper Adams on bar i tone sa \ , T :a :

on f luge lhorn , and R ichard Dav is on bass) . Th is po in ts up an impor tan t c lue to good * r i r : : .=

- - the grea t a r rangers , f rom Duke E l l ing ton to Thad, have wr i t ten accord ing to the ta ie : :s

o f the i r own p layers .

The tune has the c lass ic e }ements o f good metod ic cons t ruc t ion . Un i f ied by i - t s ABAB:

fo rm, a l t phrases are un i f ied by sequences o f f igures ( re fe r to Exanp le 1 ) , Note the we l l -

def ined ascending motion to the sustained hieh D in bars 7 and 23. The D sounds fresh her=

because i . t has no t been sounded be fore in the tune and because i - t i s the l l th o f a mino :

? th chord . Th is minor ? th leads us in to the new t rans ien t ton lc o f G th rough the fo l los in ;

p r o g r e s s i o r r : I r u r T v 7 r ( A u I 7 D 7 G ) .

4 6

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The arrangement contains 7/z choruses and, as in most of his wri t ing, Thad doesn' i :c l : -

Ia te . He keeps us in t r igued w i th the in te rp lay be tween the persona l , in t imate qua l : : ] ' : :

the t r io so lo is ts (bars 1 -1?) and the power fu l comments o f the band (bars 2 , 5 , 17-21 . 9 ; -

98) . We hear the f resh co lo r o f the sax so l i and the improv ised choruses o f each sc ic :s : -

The in te res t f low and dynamic contours a re impor tan t c lues to Thad 's success . In th : : : - -

Iow ing dynamic contour char t (Exanp le 2 ) , no te tha t a f te r the or ig ina l band expLcs : , : : - : -

bar 2 there are var ious s ta tements by the band, bu t the sus ta j .ned bu i ld to the c l i : .a - r - -

the shout chorus (bars 141, 153) doesn ' t come unt i l about 7a o f the way th rough the s :c : : .

The fo rm c loses by re tu rn ing to the qu ie te r open ing , wh ich fea tures the t r io and 1 : i -s

us in to be ing surpr ised by the sudden loud las t chord . L is ten to a record ing o f th is F :+ :=

as you fol1ow the dynamic contour chart below.

EXAMPLE 2

kRD cItoRUs

P 9il,,*,.,'*,,,1,

EI{S. SHOUT

l-lsr cnoRustBEGr/V/Vr/VG

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BASS SOLOENS.

( 97-98)

1 4 1 1 5 3

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6TH CHORUS(REPEAT OF

4 8

vorcrNGs

Thad 's vo ic ings aJ .ways sound r i ch w i thout be ing th ick and c lu t te red .:a \ :s each ind iv idua l sec t ion sound good w i th in i t se l f even when the fu l l- : : .

L i k e N e s t i c o , h eensemble is p lay-

sa xes

In vo ic ing the saxes , the i r so l i a t le t te r@is a moder o f i t s k ind . Note

l . The sax sec t ion ge ts good sounds th roughout , par t l y because eachid iomat ic f igures in reg is te rs where he can ge t a good sound. Ther ive f rom th is concern , as we l l as f rom Thad 's in te res t in f ind inecertain notes rub dissonant ly against each other.

Lhese po in t s :

p l a y e r p l a y s

v o i c i n g s d e -ways to make

2' His sax voicings are usual ly spread more than an octave (when al l t ive are play-ing) , most o f ten w i th an in te rva l , o f a 9 th o r 10 th be tween the ou ter vo ices (seebars 3?-49) . He o f ten uses the 5-par t d rop-2 vo ic ing , wh ich is fo rmed by tak ingthe c loses t vo ic ing o f a S-par t chord f rom a g iven melody no te down and dropp ingthe second highest voice from the top by one octave (Exanple 3a).

EXAMPLE 3a

when the lead sax drops in to a low reg is te r , Thad f requent ly c loses up the 5-p a r t v o i - c i - n g ( b a r s 3 4 - 3 5 ) - - a s t h e l e a d g o e s h i g h e r ( b a r s 3 5 - 3 6 ) h e o p e n s u pthe spac ing even more . These w ider spreads somet imes use a S-par t d rop-2-and-4 vo ic ing (Exanp le 3b) . rn te rming led w i th these b-par t vo i .c ings , Thad uses 4-par t d rop-2 w i th the melody doub led an oc tave lower (Exanrp le 3c) , as a lso usedbv Nest ico . Thad f requent ly does th is on minor 9 th chords when the g th i s inthe melodv (Exanp le 3c) . on dominant l3 ths , when e i ther the 3rd or l3 th i s inthe melodv , he uses a 4 -par t vo ic i .ng w i th the melody doub led gvb (Exomples , l t la n d 3 e ) .

Ft,rrQ

4 9

EXAMPLE 3b

brass

E\ . |MPLE 4 A

EXAMPLE 3c

A r u r Q6 z(re)

(ffi|lhi')(c , 3

DOUBLEDt,IELODYoil lrTH

EXAMPLE 3d EXAI,IPLE 3 C

( :r',rg Xnmq , -X $:gil?')4-PART \DR0P-2 w/ I8V8 T.TELODY / )

3. Thad normal ly provides more space between the top two saxes and between the bot-

tom two than be tween the ins ide vo j -ces (Exanp les 3a-e) . I f there are minor 2nd

dissonant gr iruls, they wi l - l - usual ly come between voices 2 and 3 or between 3 and

4 (bars 14-15) . 13 ths are o f ten used in dominant 7 th - type chords , bu t the 13 th

and na tura l s th a re no t used i .n the same oc tave - - ac tua l l y , the Sth is usua l l1 '

omi t ted ln 13 th chords (ExanpLes 3d and e) .

Eb z(f q)Gn",7e - 7

(zo,

t { tTH t t {AII OCTAVE

M&\II,IUI,I SPREAD OFA 9TH OR 1OTH WHE}I4TH TRB. DOES ilOTPLAY THE ROOT

AIIY I}ITERVAL

5 0

As fo r b rass vo ic ings , in Three AncJ One t rumpets and t rombones a lways work together '

l . A s j - n N e s t i c o ' s w r i t j - n g , d i . s c u s s e d e a r l i e r , t h e t r o m b o n e s u s u a l l y p r o v i d e t h e

bas j -c chord tones (1 , 3 , ? ) wh ich g ive harmon ic mean ing to the upper chord er -

tens lons o f ten p layed in the t rumpets . Exanp les 4a 'c show the typ ica l t rombone

spaclngs used in brass voLcings. In Exanples 4a and 4b where tbe 4th/bass trom-

bone plays the root, the spread between outer voices can be large. But when the

b a s s t r o m b o n e d o e s n o t p t a y t h e r o o t ( E x a n p l e 4 c ) , a l l t r o m b o n e s a r e w r i t t e n

wi th in a g th o r 10 th and ad jacent vo ices are no more than a t r i tone apar t (bars

1 2 . 2 9 , 3 0 , 1 5 8 ) .

EXAMPLE 4b EXAIIPLE 4c

Eb) g '

&

( l ) (tz)

3 .

IItIttIIItIItIIIIItII

2, The trumpets are rarely spread more than an octave (the f i rst chord of Three AndOne is i . ts only except ion). The four voices sound good by themselves but do notnecessar i l y por t ray the bas ic chord qua l i t y . Rout ine ly , the t rumpet s t ruc tu reconta ins enough chord ex tens ions or a l te ra t ions to fo rm a d i f fe ren t apparentchord (ExanpLe 5) ,

EXAtrIPLE 5 gbr(f u)

In b rass vo ic ings , the lead t rumpet no te i sexcept when the lead trumpet, plays the chordstrument are already sounding i t .

usua l l y doub led

roo t s i nce the

l o w e r i n t h e b r a s s ,b a s s a n d o n e l o w i n -

ensembles

I n e n s e m b l e v o i c i n g s , w h e nbrass is s t ruc tu red as no ted .se lves and usua l ly con ta in the

brass and saxes are combinedThe saxes are wr i t ten to makebas ic chord tones in the lower

i n c o n c e r t . e d e n s e m b l e s , l h e

a comp le te sound among them-

v o i c e s ( E x o n p L c 6 ) .

EXAMPLE 6

rare to have both bari tone sax andusua l ly hand les th is func t ion .

bass t rombone p lay ing the bass no te . The bass

A''(fl)ERASS SAXES

I t i st rombone

TRBS. SOUt{D

g

s f r .

5 1

The frequent dominant 13th chords for the ful1naLural Sth is ei . ther omit ted or used in a di f ferentsounding except ion is in Exanple 7.

e n s e m b l e a l s o f o l l o w t h e r u l e t h a t t h r

octave than the 13th (bar 5) . One goc,C

t h e Q S u s e d w i t h t h eb a r s 9 0 - 9 3 ) .

EXAMPLE 7

The 13th is never employed s imu l taneous ly w i th the b i3 o r fS , nor i sbg or {9 . But the *9 anO }9 a re o f ten used s imu l taneous ly (b rass in

EXAMPLE 8

Thad frequent ly uses this chord type:

I t i s here symbol izec l C7(#e) . In some o f h is o ther a r rangements , the same chord is symbo-, j . z e d a s C + 7 ( # e ) . T h e t a t t e r i s p r e f e r r e d s i n c e i t m a k e s c l e a r t h a t n o { S i . p e r m i t t e d i n

: h e c h o r d ( t h e + i n d i c a t e s f S ) . T h e u s e o f t h e h t 3 i n f e r s t h a t t h e { 5 m a y b e p r e s e n t , a s

l n b a r 1 4 6 . t h e f o u r t h n o t e .

Thad o f ten employs minor 2nd gr inds fo r harmon ic 'b i te . " They occur be tween ava i lab le:hord members - - in dominant ? th chords be tween the ? th and 13 th , o r be tween the 3rd and

*g tn Gxanp les (g and ga-b) . The minor 2nd gr ind be tween the 3rd and the 9 th in minor 9 th

: h o r - d s i s a l s o u s e d o f t e n ( b a r 5 ) . N o t i c e t h a t T h a d d o e s n o t u s e o l l a v a i l a b l e m i n o r 2 n d

:n ter r -a ls . The one be tween the minor 9 th and the . roo t in dominant ? th - type chords is used

:n1 ] ' ra re l y (Exanp le 9b) and the one be tween the t l l th and the Sth is never used in domi -

:an t ? th - type chords , bu t i s occas iona l l y used in ma jor ? th chords (bar 1? , second chord in

: :unpe ls ) .

5 2

A7 Bb+'(fl)BRASS sAxEs

Yoice lead ing

r : ad ' s r i ch l y ex tended cho rds cons i s t o f i nd i v i dua l vo i ces wh i ch move smoo th l y t o no tes: : nex t cho rd . Fo l l ow each vo i ce as i t r eso l ves i n ba r 153 . I n ba r b we hea r a l - l i n -i ua l b rass vo i ces reso l v i ng s t rong l y by s teps o r m ino r 3 rds as t he saxes l eap downwardi : some sudden th i cken ing i n t he reso l v i ng cho rd .

EXAMPLE 9a EXAMPLE 9b

bass doub l ing

T:ad is consistent in rarely doubl ing the chord bass voice upwa.rd: : - = : i . r s t o c t a v e a b o v e t h e n o r m a l b a s s r a n g e ( s e e t h e d i s c u s s i o n o f

(fg)SAXES

i ns ide the harmonyt h i s o n p a g e 1 f ) .

l n

sg fi+>d

5 3

HARMONY

passing chords

Thad 's smooth hand l ing o f pass ing chords ,tones , i s eas i l y seen in the 5-vo ice wr i t ingThe passing chords used are:

those harmon iza t ions o ffor brass in bar 12 and

s c a l e - w i s e p a S s r n g

in t he sax so l i a t C .

1. d imin ished ? th - - usua l l y enr iched w i th an added tone one fu l l s tep h j ,gher than

one o f the four chord tones . Th is tone can appear in any oc tave (see bars 1? .

3 ? , 3 B ) .

2 . p lan ing (exac t para l le l i sm) - - when the melody moves by ha l f -s tep in to a chor l

m e m b e r , o t h e r v o i c e s a l s o m o v e p a r a l l e l b y h a l f - s t e p ( s e e b a r s 1 2 , 4 l - 4 4 ) ' o :

when the metody leaves and re tu rns to the same note and chord , and o ther par :s

fo l low in para l le l mot ion by the same in te rva ls (see bars 32 , 36 , and 29-30 fc :

f u l l e n s e m b l e ) .

3 . d ia ton ic o r sca la r p lan j ,ng - - th is occurs when the under vo ices fo l low the lead

vo lce by mov ing s tep-w ise to the nex t tone in the mode or sca le re la ted to the

c h o r d ( b a r 1 3 7 ) .

4 . who le -s tep p lan ing i n m ino r ? th cho rds - - t h i s spec ia l case o f d i a ton i c p lan i . ng

exp lo i t s t he f ac t t ha t each m ino r ? th cho rd con ta ins i n i t s ex tens ions ano the r

minor ?th chord one whole-step h igher . I f a melody over a minor ?th chord moles

up a whole step, a l l lower voices may a lso move up a whole step (see bar 38) ani

s t i l l be w i t h in t he cho rd . See Exanp le 10a :

EXAMPLE 10a

F- ,13 Fr'r r? (ll)

5AXE5Fgl'J3,'F,.r,e

tA spec ia l f lavor9th of the upperthe lower chord ,

resu l ts when bo thone (Example 10b)but the result ing

o f these minor ? th chords inc lude 9 ths . The

is in apparent conf l l c t w i th the minor 3 rd o l

sound is in te res t ing .

5 4

EXAMPLE IOb

subst i tu te chords

ALthough pass j .ng chords , as descr ibed above, p rov ide mot ion in the harmony par ts , Thad' ' -pn uses nrosress ions o f subs t i tu te chords wh ich go beyond the func t ion o f pass ing chords .

^ : : ; . ' have a s t ronger func t iona l charac ter and wou ld c lash w i . th the or ig ina l changes i f theyr=:: not wri- t ten into the rhythm sect ion parts. They energize the harmonic f low and give an- rnnr r r rn i fv fn r s l16pg bass-vo ice l ines mov ing independent ly f rom the melody , o f ten in con-

! t . J r L q r r f e J

: : : i ' m o t i o n ( s e e b a r s 1 3 1 - 1 3 2 ) .

ton ic iza t ion

In s tudy ing the r i ch subs t i tu te chords o f Thad Jones and Bob Brookmeyer , i t w i l l he lp:nders tand the concept o f ton ic iza t ion , in wh ich any chord (except a d imin ished 7) ma.y" ton ic ized" to ac t momentar i l y as a t rans ien t ton ic towards wh ich a seconc la ry V7 or a

:cndary I Iu rT-V7 sequence may move. For example , the bas ic p rogress ion in ExonpLe 11a nay

EXAMPLE 1la

III,",? V,-aalb

(s,nxes)

z l

D D

be en r i ched w i th a seconda ry Y7 (Exanp lequences as i n Exanp le 11c .

EXAMPLE I|b

1 l i l o r w i t h s e c o n d a r y I I u r T - V 7 o r I I " l 7

ge

I t - r rz

Cb/cc : I

6r(be)

gz (br)e :

EXAMPLE 11c

[r-r f*^-r*tll F: g' r

L l ; 5 g ? l l i + ' l l i b i l i c l l I W @

Ff ' ,2(bs) ts13(bq) Gr.r r7

Icb/q

C : T

E rqtT

I

ge F

e: I f 1 . ,z (bs) g7(Dq)

r@@@]TffifofuL:--

E,.,r r 7

./ ' rr +.,__:_--

t

1-T t 'hJ

rI

d

5 6

l : . : i l : t i o n , t h e s e c o n d a r y V 7 m a y b e r e p l a c e d b y a [ I I 7 , t h e t r i t o n e s u b s t i t u t i o n n a m e d f o r

: . : : : : e r v a L l i c r e l a t i o n s h i p t o t h e o r i g i n a l V 7 :

( a ' 1 cr r i t one t O l r_+C

: : . = b I I - i s a cho rd o f dom inan t ? th: : : . : r and i s t hus re fe r red to as an

E \ . \YPLE 11d

p t

btrt

t ,t*--lI CHRoMATIC Ilpor l rNAlr r I

P: lf na r" bE -.at

are analvzed beLow

cb/q F*r.,r,z(bs)

C : Ie: II - t'r (bs)

The t r i t one subs t i t u t i on may a l so- .c t i c . l tAt (Example 11e) .

E. \ . \MPLE 11C

Lulo Ff ,*r,e (bs)Frqez

C : I€: If rvr,z (bs)

. - : ' : a 1 e x a m P l e s o f

" : T h r e e A n d O n e .

qua l i t y whose roo t i s a ha l f s tep above the t rans ien t

uppe r ch rona t i c don inan t (Exanp le 11d ) .

Er. . r ,7

I n r t 7

F: If n"r r7 btr:'

be a MA7 chord and is then referred to as an upper chr t t -

6,r ,2(rr) 6 bz(f r r ) F

I

6 r*r r? Gb,-raq Fr.,ra"

IE t r r r Q

I . - r r 7

I

b[ -ot

Thad' s subst i tu te chords

5 7

bars 131, 132, 152, and 155

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5 8

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5 9

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"Kids Are Pretty People"

by Thad Jones

recorded on the I I ISIDE IHE SC0RE casset teand on n i l0 i lDAY I { IGHTT (Thad Jones/ l le l ler is Jazz Orchestra)

MELODY

Kids Are ' Pre t ty Peop le i s qu i te d i f fe ren t in s ty le f rom Three And One. I t i s in a s lowsit ing style with a smoother, tyr ical" melody, most ly in minor. The melody is a normal 32-bar:o rm in four B-bar sec t ions , bu t the harmon ic subt te t ies a re d is t inc t i ve . Each B-bar sec-: ion s ta r ts in D minor bu t goes i t s own way, surpr is ing us as i t changes d i rec t ions jus t asr i s e e m s t o b e h e a d e d f o r o n e t o n a l i t v ( s e e E x a n p l e s 1 a n d 2 ) .

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The ar rangement i s th ree choruses long and beg ins w i th a qu ie t fea ture o f p re t ty sax

vo ic ings over a c peda l , lead ing our ears to expec t F major to fo l low. The fee l ing o f t ime

f low and tona l i t y i s i "n te r rup ted w i th an even-e igh th-no te passage o f 4 bars over chang ing

harmon i .es be fore se t t t ing back in to a subdued, s low swing fee l in D minor a t the s ta r t o f

the tune a t

The f j , rs t chorus presents the tune in four d i f fe ren t co lo rs and tex tu res , one fo r each

o f t h e f o u r p h r a s e s , e a c h o n e b e i n g s o m e c o m b i n a t i o n o f a u n i s o n o r s o l o l i n e a g a i n s t a

harmon ized l ine , w i th cont ras t ing nn t ion in the two L ines . The second chorus j -s a t rombone

so lo , and the th i rd chorus is an ensemble shout .

Thad says that he always has in mind a focal point where his chart is heading. In Kid- '

we ge t a s t rong sense o f a r r i va l on the power fu l f i r s t no te o f the shout chorus F- l ' S i r -

reen measures la te r a 2 -bar c rescendo a t the s ta r t o f the br idge fH ' l leads in to a tang led

r e x t u r e o f m u l t i p l e f r e e s o l o s f o r t w o b a r s t h a t e n d s i n a d r a m a t i c s h o t c h o r d i n b a r 9 l

for a second and bigger cl imax. The two cl imaxes occur 65% and BBTo of the way through the

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- : , = sa r l - o i c i ngs i n bo th t he so l i a t ba r 16 and the backg rounds i n ba rs 33 and 65 a re. . ' a : l ; a d . T h o u g h r e g i s t e r s a r e f a v o r a b l e f o r a l l p a r t s , h e u s e s a b i g r a n g e f r o m t h e- - - - = : - : h i g h s o f b a r s 1 6 - 2 2 t o t h e d e e p e r l o w v o i c i n g s o f b a r s 1 8 , 2 0 a n d 2 2 .

: : . : background pads, unl ike the soLi passages, the bari tone sax plays some bass func-- : . t h e s p r e a d v o i c i n g s ( b a r s 3 3 , 3 4 , 3 6 , 4 0 , 6 8 ) , b u t t h e s e a r e i n t e r m i x e d w i t h n o n -: : c t j . o n s . A s i n T h r e e A n d O n e , T h a d ' s c h o j . c e o f v o i c i n g s i n t h e s a x s o l i s a r e t h ej r o p - 2 a n d t h e 4 - p a r t d r o p - 2 w i t h t h e m e l o d y d o u b l e d a n o c t a v e l o w e r ( s e e v o i c i n g

a : i - o n s o n p a g e 4 9 ) .

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t rombone padd ing in bars 10-15. The spread is typ ica l l y avoices and is character ized by having somewhat larger inter-between 3 and 4 than between the inside voices 2 and 3. The

present in the t rombone vo ic ings . The bass t rombone p layst i m e .

{s in Three And One, the t rumpets a re never harmon ized when p lay ing by themse lves , bu t: . . , i : l h t rombone harmony. In concer ted brass vo ic ings , the t rumpets aga in a re spread no

- r : l : a n a n o c t a v e ( w i t h o n l y t w o e x c e p t i o n s ) . A s p i r i n g w r i t e r s s h o u l d t a k e n o t e o f t h et : t : :a t the f i rs t t rombone never goes h igher than Ab or Ah. R ich sonor i ty i s o f ten los t- : - : s - . :b le r passages when the f i rs t t rombone is wr i t ten too h igh .

ensembles

I : . : once r ted ensemb les , t he vo i c i ngs a re more dense than i . n Th ree And One and i nc lude- . - : ' e c l u s t e r e d s p a c i n g s ( t h o s e w i t h a d j a c e n t i n t e r v a l s o f 2 n d s ) . T h e c l u s t e r i n v a r i -. - - . u r s i n m id - reg i s te r whe the r i n t r umpe ts , t r ombones , o r saxes ( see ba rs 77 -78 ) . Ther : r ' - eopo g i ves a be t te r chance fo r t hese dense r vo i c i ngs to be hea rd .

I.I ID-REG I STER RAIIGEFoR DEI|SE V0lCl i lGS

7 9

Desp i te th is dense spac ing , Thadone octave upward inside the harmony?ths , ha l f -d i .m in ished ? ths , and minor

j .s s t i l l cons i .s ten t in ra re ly doub l ing the bass no te

i n V 7 c h o r d s , b u t o c c a s i o n a l l y d o e s s o i n d i m i n i s h e d

?th chords .

The t rombones aga in conta in bas ic chord tones (3 rds and T ths) and the lead t rumpet l s

doub led somewhere in the brass a la rge percentage o f the t ime and o f ten in the saxes .

HARMONY

In K ids there are few pass ing chords . In bar 73 the upper vo ices move f rom upper chord

ex tens ions to bas ic chord tones wh i le the lower vo ices repeat the i r chord no tes . A t a fas t

tempo i t wou ld be d i f f i cu l t fo r p layers to a r t i cu la te s ty l i s t i ca l l y on repeated no tes , bu t

a t th is s lower tempo these lower vo ices don ' t have as much o f a p rob lem match ing the ar t i -

cu la t ion o f the mov ing no tes in the upper vo ices .

I n b a r ? 9 , t h e v o i c e s i n t h e B u r t t l s t c h o r d m o v e t o t h e n e x t h i g h e r n o t e s i n t h e s c ' a l t '

a s s o c i a t e d w i t h t h e h a l f - d j . m i n i s h e d c h o r d : t h e A e o l i a n m o d e w i t h a b 5 ( s e e r E r r r m p l t ' ' t t t \ .

Th is sounds another ha l f -d imin ished chord , the Cfu tz t f s ) in th is case (E . , r . r r rnp lc / t l t ) .

EXAMPLE 4a EXAMPLE 4b

1a*",r(hs))

T h e s c a l e w i s e l i n e i n b a r 9 1 i s h a r m o n i z e d b y c h o r d s u b s t i t u t i o n s ( o f w h i c h T h a d ; . -master ) ra ther than by pass ing chords . Note tha t , in th is case, the rhy thm sec t ion is i t ' .each subst i tute chord svmbol.

I n t he many m ino r ? th cho rds hea rd i n t h i s sco re , t he ex t ra t one added to t he bas i c i , - - : "

l o n e s m a y b e e j . t h e r a n l l t h o r 9 t h ( s a x e s b a r 2 0 ) , a n d o c c a s i o n a l l y b o t h ( s a x e s b a r 2 2 , = : -

s e m b l e b a r 7 3 ) . I n h a l f - d i m i n i s h e d c h o r d s t h e e x t r a t o n e m a y a l s o b e t h e 1 1 t h ( s a x e s : : : '

3 9 ) . T h e c o n s e c u t i v e d i m i n i s h e d T t h s i n b a r 8 5 s h o w c l e a r l y t h e e a s e o f a d d i n g t h e l c ' : t = s

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- : - - : 1 n g o n e s t e p h i g h e r t h a n t h e b a s i c c h o r d t o n e s . A l t h o u g h a l l f o u r a d d e d t o n e s a r e' ' " - : : l a b l e , T h a d u s e s o n l y o n e o r t w o a t a t i m e . W h e n t h e m e l o d y o u t l i n e s t h e d i m i n i s h e d- : : -

a s i n b a r 8 5 ) , t h e f i r s t v o i c i n g w i t h i t s a d d e d n o t e s i s s i m p l y p l a n e d u p w i t h t h e- = - - : i ' . t h e r e b y p r o d u c i n g d i f f e r e n t a d d e d t o n e s i n e a c h i n v e r s i o n .

t \ +UPLE 5q EXATIPLE 5b

AVA I LABLEADDED TOI{ES

I n h a n d l i n g t h e p a s s i n g t o n e s- r_- . ' :S \ r i th in the d imin ished sca le ,l : : - pLus i t s four added tones :

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9 2

,,U5"

by Thad Jones

recorded on the I I {SIOE THE SC0RE casset te

and on t rCOl{Sul l l lATIg ln (Thad Jones/ l le l Ler is Jazz 0rchestra)

Us is di f ferent in many ways from the other two Thad Jones scores studied here. I t hasa j a z z - r o c k f e e l r a t h e r t h a n s w i n g , i t s m e l o d i c f o r m i s u n u s u a l , i t s a r r a n g e m e n t f o r n ' . i sunconvent i .ona l , i t s the on ly one o f the th ree scores tha t modu la tes , and improv isa t j .on isno t a p r inc ipa l fea ture o f the ar rangement .

MELODY

The melody conta ins th ree d i f fe ren t tunes : a shor t in t roduc tory me lody in Eb wh ich isr e l a t e d t o t h e m a i n g o s p e l - l i k e b r a s s c h o r a l e a t A t h r o u g h i t s h a r m o n y a n d m e l o d i c f r a g -m e n t s ; t h e m a i n t h e m e a t A ( a l s o i n E b ) w h o s e 1 5 b a r s d i v i d e i n t o t h r e e p h r a s e s o f ' 1 , 6 .and 5-bar lengths , each repeat j .ng a por t ion o f the preced ing phrase be fore cont lnu ing s i th

new mater ia l ; and a second main theme a t D (key o f C) wh ich is 8 bars long and is bu i l t o :

a sequence o f s imp le 2 -no te b lues i .n te rva ls end ing w i th a v j .gorous 2-bar un ison I i ck . Se=

Exanples 1 and 2.

9 4

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The form of this arrangement is basical ly a large ABA preceded by an introduct ion. The

|ntro starts in Eb with a powerful 4-bar statement by the band, which is answered by a 4-

bar saxophone solo (played by Jerome Richardson on soprano sax in the or iginal Thad Jones.

Me1 Lewis record ing) . Th is ca l l -and- response pa t te rn repeats , fo l lowed by the main 15-bar

gospe l -1 : .ke brass chora le , wh ich is p layed w i thout the rhy thm sec t ion . A 20-bar t rans i t ion

modulates into the key of C and 8 bars of rhythm sect ion vamp set up the more intense jazz-

r o c k f e e l .

The second theme o f 8 bars has enough b lue no tes (Eb, Bb, Ab) over i t s C tona l i t y to

make i t re la te c lose ly to the f i rs t Eb tona l i t y . Th is 8 -bar s t ra in i . s p layed f i ve t imes in

increasing intensity, the texture and orchestrat ion changing each t ime unt i l the last ( these

changes shou ld be s tud ied) . Note tha t when the brass and saxes p lay d i f fe ren t f igures a t

the same t ime, one is in unison and the other is harmonized, -- they are never both harmon-

ized . The las t repeat a t [ l con t inues to ga i .n ln tens i ty w i thout re -orches t ra t ion as the

rhy thm sec t ion dr ives the band to the pr inc ipa l c l imax in bar 65 .

I t is interest ing to compare the posit ion of c l imax points among these three Thad Jones

scores: us - 81% of the way through; Three And One - 80-86% of the way through; and Kids -

65-86V0 of the way through.

The D.S. back to the brass chora le c lcses the la rge ABA fo rm and he lps g ive a fee l ing

of comple t ion desp i te the sudden end ing in bar 24 . The o ther e lement wh ich se ts up the

fee l ing o f end ing is the tu rnaround and tag (bar 20) ius t be fore the char t conc ludes .

In the fo l low ing dynamic

variat ions, and the bui ld toout.

EXAMPLE 3

INTROKEY OF Eb

r,/ | soP.sAx & | sax

sol0

contour char t (Exanp le 3 ) , no te the f low o f co lo r and tex tu re

the cl imax in a score which is short and quite intense through-

'A ' SECTION

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9 6

VOICINGS & HARMONY

T:e r i chness o f harmony is typ ica l l y Thad and is no t re la ted to e i ther gospe l o r rock ,: : -=: of which would normal ly cal l for s impler harmony of t r iads or simple ?th chords. The's : ensemble vo ic ings fo t low the same procedures as in h is o ther scores . p r inc ipa l chord:es 1 '3 rds , T ths) a re found in the t rombones, who are most ly vo iced in a s l igh t ly spread- l lng (ou ter vo ices genera l l y a t an in te rva l be tween a major ? th and a 10 th) . The lead'*:pet note is doubled an octave lower in the fourth trumpet or f i rst t rombone two-thirds: :e t i .me.

The h igh Bb 's in the f i rs t t rombone are h igher no tes than in the o th 'e r scores . Note:. . : onl l ' on octave melody doubl ings does Thad wri te the trombone that high.. Tle warmth of-s b rass vo ic ings re la tes to th is .

T h e b r a s s v o i c i n g s u t E l a r e v e r y d e n s e , h a v i n g u s u a l L y s e v e n d j . f f e r e n t , p i t c h e s a m o n g-;; eiohr nnroc But the added notes are organized so that t rumpets and trombones each make_ 4 b r r v r r v v v u .

: . . : : o n i c s e n s e b y t h e m s e l v e s . r n t h e d o m i n a n t ? t h t y p e c h o r d s , t h e * g ' s a n d b g ' s g o w e l l: - ;e ther . In th is sequence, 5 ths and 13 ths are found ad jacent , con t ra ry to the usua l p re-- . : : j .ons bu t sound ing good in th is conf igura t ion ( the sus ta ined tength o f these dense chordsa- ' , ' . s them a chance to be heard) .

B] ' contrast, Thad uses a simpler sax voicing than usual dur ing the fast-moving harmon--z : l l i ne in bars 51-54. Th is i s a 4 -par t d rop-2 w i th 8vb melody doub l ing un t i l bars 55-56i : . :n they break in to a more tense 5-par t vo ic ing as the phrase bu i lds to the cu t -o f f ands = r u n i s o n b r e a k i n b a r 5 7 .

The sudden modu la t ion in bars 25-26 d isgu ises i t s bas ic c i rc le -o f - f i f ths mot ion by theof the o f f -beat un ison t rumpet me lody bu i l t on ,chord ex tens ions . Me lod ica l l y th is tune

sets up the t rombone melody a t@Uv us ing qu icker vers ions o f the same 2-no te in te r -p resent in tha t me lody .

A t t h e b e g i n n i n g , t h e s a x e s a d d t o t h e t e x t u r e b y p l a y i n g t h e b a c k b e a t s r a t h e r t h a n: : : : , 1 i n g t h e b r a s s . N o t e h o w t h e ' o u t s i d e " s a x l i n e a t @ i s h a r m o n i c a l l y j u s t i f i e d o n a l l: . : : . s and how i t he lps to c la r i f y bo th the l ine and the harmon.y .

9 7

USby Thad Jones

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1 0 6

Thad Jones interviewRay Wr igh t : I wanted to check ou t a coup le o f th ings . When you taught a t ( the) Eas tman

(Schoo l o f Mus ic - a week 's a r t i s t - in - res idence) , you ta lked about wr i t ing toward acertain focal poj-nt in each chart and I wondered how my concept ion of the posit j .on ofthose focal points matched up with your feel ings about them.

Thad Jones : I thought i t was exac t ly cor rec t .ob jec t iue uay s ince I was so inuo lued w i thbut uhen I hear i t cone bach to me I say ,q u i t e a c c u r a t e .

I t ' s h a r d f o r n e t o l o o h a t i t i n a f a i r l yi t o n s u c h a p e r s o n a l u n d s u b j e c t i u e l e t ' e l ,' W e L l I ' L L b e d a m n e d ! ! " I t h o u e h t i t r o s

TJ : One o f the th ings I t r ied to po in t ou t a t Eas tnqn was theof whateuer a r rangement i t i s . I t ry to heep the ideas as

RW: What o ther po in ts wou ld you l i ke to b r ing ou t?

RW: In choos ing subs t i tu te chords , how much th ink ing do you dov idua l par ts?

i n u o l u e m e n t i n t h e c o n c e p t

c o n s i s t e n t a s p o s s i b l e .

about the movi .ng of j .nd i -

T J : I d o n ' t r e a l t l ' t h i n k a b o u t t h a t . I L e t t h e f l o w o f t h e p i e c e t a k e n e i n t o t h e i n u o l t ' e -nent w i th i t . Le t cone what may, whateuer i t i s . I ' n k ind o f respons ib le fo r the ex-p r e s s i o n o f i t , s o i t d o e s n ' t r e a l l y n a t t e r a b o u t t h e a d j a c e n t o r p a r a l l e l l i n e s o ruhateuer . That par t o f i t neuer rea l l y concerns me too much. I th inh the who le tdeat h a t I h a d i n n i n d i n a m o r e t o t a l s e n s e w a s t h e f u L I e x p r e s s i o n o f t h e p i e c e , u h a t -e u e r t h e p i e c e w a s s u p p o s e d t o m e a n t o m e ,

Th is i s no t some th ing tha t I s tudy . I ge t i n to t he p iece and uhe reue r t he l i ne t akestu€ , t ha t ' s uhe re I ' n go ing to go . You know Ray , one th ing I cou ld add i s t ha t when Is i t d o w n t o w r i t e a p i e c e I v e r y s e l d o n h a u e a t i t l e . I h a u e a n i d e a , b u t n o t a t i t l e .

A n d i t o f t e n o c c u r s t o m e i n t h e n i d d l e o f a p i e c e , a t i t l e j u s t p o p s o u t o f t h e a i r .

T h e c h a r a c t e r i s t i c s , t h e w a y y o u f e e l a t t h e t i n e , a l l s e e n t o s u g g e s t a c e r t a i n t h e n e

t h a t s h o u l d e x p r e s s t h e c o n t e n t o f w h a t y o u ' r e d o i n g .

RW: When in the wr i t ing do you f ix the concept of what the focal point of the p iece is to

b e ?

T J : I t ' s h u r d t o s a y . S o m e t i n e s i t o c c u r s b e f o r e y o u g e t o u t o f t h e i n t r o d u c t i o n , a n dthen o ther t ines you a lnos t haue to f in ish the p iece be fore you hnow. The na in th ingi s t h a t t h e r e h a s t o b e a c e r t a i n c o n s i s t e n c y t h a t h a s t o b e a d h e r e d t o , i n n a y b e a ne m o t i o n a l w a y , t h a t k e e p s r e n i n d i n g y o u o f t h e t h i n g t h a t ' s b e e n i n t h e b a c k o f y o u rh e a d a I L t h e t i n e .

I d o a l o t o f w r i t i n g a t t h e p i o n o a n d n a y b e I ' l L p l a y a c h o r d a n d i t p o p s t h e b a r r i e rL o o s e , t h e i d e a I ' u e b e e n t r y i n g t o g e t t o . I ' l L t h i n k , o o h y e a h ! " M a y b e i t s u g g e s t sthe chord tha t nay be the c l inac t ic chord tha t I 'ue been t ry ing to reach. Maybe tha ts u g g e s f s t h e w h o l e i d e a f o r t h e p i e c e . A L o t o f t i n e s t h a t ' s w h e r e t h e t i t l e c o n e s

f ron . Or a few words to sum up what I 'ue been th ink ing about and I ' I .L pu t tha t down

1 0 8

;r. l then- - - | 1 , , n a l

; ' - - e c t L o n

: - c L t a l t l y

t h e n a t e r i a l t o e x p r e s s i t b e g i n s t o n a t e r i a l i z e a n d , t h e n I c a n w o r h w i t h i tI g e t a g e n e r a l c o n c e p t i o n , n o t a t o t q l p i c t u r e , b u t a n i d e a o f a f o c u s o r

i n wh i ch I wan t t o go . Then I s ta r t ga the r i ng the th ings a round ne tha t w i l lh e L p p r o p e l n e i n t h a t d i r e c t i o n .

: . I :

- t '

I : : :he case o f Us , d id you wr i te the i .n t roduc t ion la te r?

T ' . , t t ' s been a Long t ine ago. I had the ne lody in mind , bu t I d id u r i te the in t roduc-: . . " n J i r s t . I h a d t o d i r e c t m r y s e l f i n t o t h a t n e l o d y w i t h o u t t a k i n g n y s e l f o u t o f t h e

, ' . c e p t o f t h e p i e c e . O n c e I g o t i n t o t h e n e l o d y , t h i n g s d e v e l o p e d f r o n t h e r e i n a: - ' . e r a l a n d p e r s o n a l s e n s e . I f " l t t h a t s i n c e I h a d s a i d ' U s ' t h e n e u e r y b o d y h a s t o' - : i n t o l u e d i n . t h e i r o w n p a r t i c u l a r w a y . A s l o n g a s u e ' r e a l l h e a d i n g i n t h e r i g h t: - . ' e c t i o n a n d w e ' r e p a r t n e r s i n t h i s e r t t e r p r i s e , t h e n ' U s ' i s a p p r o p r i a t e .

f lC the second sec t i -on , go ing in to the rock vamp in C, jus t spontaneous ly f low out o ft : ,

; : ' . 1 o f a l l I ' m n o t a r o c k w r i t e r , I ' L , e n e u e r t h o u g h t o f m y s e l f t h a t w a y . B u t i n s o m e: - : " ; 1 ' m n o t a g a i n s t r o c k a n d I f e e l t h a t r o c h e x p r e s s e s c e r t a i n t h i n g s a L o t b e t t e r: ' . ' ) t i c o n L , e n t i o n a l w a y s , T o n e , t h e r o c h f e e L i n g o f t h i s p i e c e e x p r e s s e s a c e r t a i n' : t ! t ng , bu t t he ne lody exp resses a ce r ta in t hough t . Maybe subconsc ious l y I was t r y i ng

: ' c o n b i n e t h e t w o .

3 rC } ' ou a l so have the second tune fo r t he key o f C sec t i on l n m ind ahead o f t ime?

\ , . l l hen I dec ided to change the hey and to open the door fo r q L i t t le nore deue lop-- . : ' . t u i t h t h e r e s t o f t h e b a n d , t h e n t h e c h a n g e o f k e y w a s l i k e a n i n t r o d u c t i o n i n t o: ' . ' t h e r a r e a o f t l r c n u s i c . I t h i n k t h e n e l o d y f t o w e d o u t o f t h a t i d e a .

l - i I ' ou t oy w i t h t he i dea o f open ing so lo space?

\ 1 r l i d n ' t . T h e o r i g i n a l p i e c e j u s t h a d t h e s o l o f o r J e r o n e R i c h a r d s o n . L a t e r I: , : te, . l t t up f or Pepper Adans and added backgrounds.

) a .? ' l

I s : h e r e s o m e t h i n g e l s e t h a t s h o u l d b e s a i d a b o u t t h e s e t u n e s ?

' , - , . R o - r ' , t o b e p e r f e c t l y f r a n k , i n y o u r i n t r o d u c t i o n t o t h e a n a l y s i s y o u e x p r e s s e d

: ) . e , u . t t I f e e l a n d p u t i t i n a u e r y c l e a r w a y .

:

i

1 0 9

Bob Brookmeyer

i : : : ; i . 3 ( i l t Y E R w a s b o r n i n K a n s a s C i t y , M i s s o u r i o n D e c e m b e r 1 9 , 1 9 2 9 a n d g r a d u a t e d f r o m- * n e l : - : : - , a i o r y t h e r e w i t h a d e g r e e i n c o m p o s i t i o n . H i s c a r e e r d a t a I i s t r e a d s s o m e t h i n g

+ * : " r - : ' s b l h o I n A m e r i c a n J a z z " v o l u m e - - i t t s a l o n g r o s t e r o f n a m e s i n c l u d i n g j u s t

- a ) o r a r t i s t a c t i v e i n t h e c o n t e m p o r a r y l a z z s c e n e . B o b h a s m a d e p e r s o n a l a p -

a f e a t u r e d v a l v e t r o m b o n i s t w i t h t h e b a n d s o f T h a d J o n e s & M e l L e w i s , W o o d yM u l I i g a n . S t a n G e t z , J i m m y G u i f f r e , T e x B e n e c k e , a n d C I a r k T e r r y . R e c o r d i n g

a s p e r f o r m e r , c o m p o s e r , a n d / o r a r r a n g e r w i t h G a r y M a c F a r l a n d , M a n n y A l b a m ,

a n d B i l l E v a n s , p l u s m o s t o f t h e p r e v i o u s l y m e n t i o n e d j a z z m e n , h a v e e s t a -

a s o n e o f t o d a y r s f i n e s t j a z z p r o f e s s i o n a l s .

THE PUBL I SHER

1 1 1

"Hello And Coodbye"

by Bob Brookmeyer

recorded on the I t ISIDE THE SCORE casset te

and on r rB0B BR00Ki lEyER - co l lp0sER c ARRAIIGERTI ( le l Ler is Jazz 0rchestra - Gryphon G-912)

The Brookmeyer scores are the most compLex o f those s tud ied here , bu t i t i s c ruc ia l to

unders tand how the s imp le melod ic mater ia ls o f HeLLo And Goodbye and F i rs t Loue Song s t r i [e

a happy balance with the dense voicings, Lrregular forms, and r ich harmonies that Brookme)'er

uses . I t i s tempt ing to de lve f i rs t in to those compJ-ex ha t 'mon ic s t ruc tu res , bu t the ] ' make

u p o n l y o n e e l e m e n t o f B o b ' s s t r o n g l y i n d i v i d u a l i s t i c s t y l e . E q u a l l y i n t e r e s t i n g a n d i n -

por tan t a re h is soph is t i ca ted melod ic cons t ruc t ion , h is fo rm and contour , and h is rh1 ' thmic

deve lopment .

MELODY

I n H e l l o A n d G o o d b y e , i t ' s m o r e d i f f i c u l t t h a n u s u a l t o d i f f e r e n t i a t e b e t w e e n t h e f o r :o f t h e m e l o d y a n d t h e f o r m o f t h e w h o l e c o m p o s i t i o n s i n c e t h e y a r e u n u s u a l l y i n t e r r e l a t e ' ia s t h e c o m p o s i t i o n s p i n s i t s e l f o u t . T h e f u l l m e l o d y i n c l u d e s a 5 6 - i r a r m a i n t h e m e a n c l a

28-bar secondary theme of sharply di f ferent and quaint ly humorous character before recappi l t i

the las t 24 bars o f the main theme.

N o t e t h e p e r r n u t a t i o n o f a I i m i t e d f e w n o t e s i n t h e A p h r a s e i n e x a c t r h y t h m i c r e p e t i -

t j .on . The melod ic contour o f the f i rs t phrase r i ses in the midd le ( f rom bar 17 to 27) a t rc i

g o e s b a c k d o w n a g a i n b y b a r 3 2 . I n t h e s j - m i l a r m e l o d y o f t h e t h i r d p h r a s e ( b a r 4 9 ) , t h r -

contour has been inver ted , s ta r t ing h igh in bar 49 , descend ing qu ick ly to bar 53 , and then

r is ing more s lowly to a s t rong c l imax in bar 63 . Note how the n in th and ten th bars o f the

f i rs t phrase become the las t four bars o f the th i rd phrase an oc tave h igher . The l ' sound

f a m l l i a r t o o u r e a r s , b u t t h e s e m o t i v e s h a v e t h e f r e s h i n t e r e s t o f p h r a s e a n d o c t a v e d i s -p I ac ement.

Sf r r r l r r f ho rhv l f rm ic va r i a t i ons o f t he S -no te mo t i ve i n ba rs 64 -66 as repea ted i n t he ne r :v u q u J u r r ! ! r r J

four bars . I t i s hard to over -emphas ize the impor tance o f rhy thm in the th ree bas ic t ' l e ' -

ments o f jazz : rhy thm, melody , and harmony.

rL2

; " f F - : -

' A ' S e c ? i o n ( U a ; n M e l o d y )' r ' p x c a s t ( t e e e c s )

' : ' P a R A s E' r 9A85 ) - r ,

n h Ai l ; D b l \ ' D 7 D b

- 3 7

'7r - M I

38

Bb,Gb- , . Bb-,7 Eb,

' : ' p r { R A s E ( l e a a c s ). i r l' \ s u s

t G '

I T R A S EI A ^ R S ) ^

) )

? ra D QL) s , . . ' s pb ! . ^ ; t ( * t ) p , t

^ - L S U S \ - | f

(ob b7 6

--dffi* 3 , s P L A c e O R E P E T I T T o N o F E A R S Z S - 2 8

l .

--a

EXAMPLE 1 con t i nueso n t h e n e x t p a g e . . ,

1 1 3

E . \ A M P L E 7 - c o n t i n u e d )

' 8 " Sec t i on (Secondory The , rne )

C'/u Cr-tt ' t tA M r T ( b 5 ) , / B o

'-/u c-/ob -z (bs)

A D * r J 1 Gb

1 1 4


- - - ,= : : the pers is ten t c r ies fo r L ibera t ion in the jazz wor ld has been to b reak ou t o f: , : : : :es of the 32-bar song form and to get away from the predictabi l i ty of arrangements

: - : - i lo , r the sequence o f head, so lo and shout var ia t ions , and recap o f the head. HeLLo

- - - - : : - ,e bears s tudy ing in th is regard because i t s fo rm does break ou t , ye t does so w i th -s - - : i : lg con t r i ved .

sequence o f theme appearances is no tab ly i r regu la r ( see Exanp le 2 ) and the phrase

= iso keep f lu id i ty th rough phrase ex tens ions (bar 153) and th rough br ing ing in a

=iement l j .ke the rhythrn sect ion on a turnaround (bar ?9) rather than on the normal

: = ; i . n n i n g ( b a r 8 l . ) .

. t r . S , t l o s p l a y o n t h e c h o r d c h a n g e s o f t h e m a i n t h e m e ' s f i r s t t h r e e p h r a s e s , b u t t h e

=- - : adds another 14-bar phrase whose tona l i t y and chords are s imi la r to those o f the

-:r ; lheme atfD] l The modulat ion to the subdominant key of Db for the bari tone sax solo

- : - : : : i n g a n d a l s o r e l a t e s t o t h e f u n d a m e n t a l I - I V - I k e y r e l a t i o n s h j - p o f t h e t h e m e ' s

: : . l - : S ? S .

: - . j i i t i on to the melod ic mater ia l shown in the preced ing examples , Brookmeyer adds

. := i ensemble shouts a t le t te rs I and M.

: . - - j . . 'namic contour char t

t o n a l i t i e s , p h r a s e

c o n t o u r s . F o I l o w

on the fo l low ing page (Exanp le 2 ) con ta ins severa l leve ls o f

l -engths , tex tu res , o rches t ra t ion , focus ins t ruments , as we l l

one i tem a t a t ime as you l i s ten to a record ing o f th is a r -

1 1 5

E.\\MPLE 2

I NTRO MAIN THE'TE 'A' SECONDARY THEME 'B' RECAP END OFMAIN THETE

w(a) (b) ( aL) (c) (B) (c t ) |l l

@

Eb PEDAL- Ab7 s Db7 sus TO - Ab7 su CHANGES- DbCHORD CIII/VGES

sHouTTEXTUR

SOP. SAX T{RITTEIIs0L0 t{/PlAlr0 ALoilE THEilt{/BAt{D (HUIORoUS "oLDTll . tE" )

INTERLUDE( NEW)

BAR ISTOP

sAxEI{S. SHOUT T IME

4 t 4 t 6 16

SHOUT

SOLO 2 ON MAIN THFIE( s u b d o m i n a n t k e y . t

(a)

( D . s . )

4 SoLotsTsOVER $OOTHEIIS.

EASS & RHYTHIIsEcT r oilI RREGULARPHRASE LEI{GTHS

EltS. - Lol'sl,rooTHulr ts.

SOLO 1 ON I,IAIN THEIilE CI'ORDS

L61616

a il

@(a) I rrt.l

TEltoR -

PAD/RI FFS

TEIIORSAXBREAK TEIIOR SOLO

SHOUT

6 1 4 L6

CIIAilcES - Ab9 su D b 9 s u s T O - A b g s u sCIIA/VGES

(b)

EIIS. R I FFS

( at)

TEI{OR + I.IULT.IMPROV & HIGHTRP. PEDAL

L6t 6

D b - G 7 - C I O o n s u s - D b g s u s -

A b t - D b

INTERLUDE (NEW)RECAP END OFMAIN THEME

CODA ON MAINTHEME CADENCE

UXIS . TO THICXv01c l i l c

( ar) r l (ct) l l ( a D (") |

eR I F F S

IEIIS. SHOUT

4 S0L0SOVERSrcOTHElrs.

P t A X 0T A G .

SHOUT

16

G b s u s T O -CHANGES

I

KEYO F C

I

KBY PEDAL Ab9 sus -CII/iVGESOF Db

,nI CLTMAX (BAR 24e) 83%I oF THE WAY THROUGH-

D b 9 s u s

1 1 6

ORCHESTRATION

l : - : s p iece inc ludes a French horn par t (covered in i t s absence by Sth t rumpet p lay ing- - - : : - : - ' l :n ) . The two top saxes a lways p lay soprano, p roduc ing an e f fec t wh ich can, t be' - : - ' : = l b ] ' a l - t o s . T h i s i s p a r t i c u l a r l y t r u e o f t h e f i r s t p a r t , w h i c h o f t e n d o u b l e s t h e- - ' : : - : p ? t i n t h e e n s e m b l e s , p r o d u c i n g a m u c h l e s s e d g y e f f e c t t h a n a n a l t o w o u l d o n t h e

^ . . : I S t t rombone sometimes plays higher than in the Thad Jones scoresare no t o rd inary harmony par ts . rn bar 69 the h ieh c i s an

r u m p e t . T h e h i g h D b o f b a r 5 ? i s a d u e t f i g u r e i n 3 r d s a n dI r i s c l e a r l y a c o l o r c h o i c e s i n c e t r u m p e t s a r e a v a i l a b l e t o

studied, but theseoc tave-doub l ing o fT t h s w i t h t h e l e a dcover these no tes .

TEXTURE

:? r ' tu res are c lear ly de f ined. Pr inc ipa l ideas are p layed on ly by so lo ins t ruments ,; e n s e m b l e s , o r m u l t i p l e a d 1 i b s o l c s ( i n o t h e r w o r d s , n o t b y s e c t i o n s ) . H o w e v e r ,: : : r t e d e n s e m b l e s v a r y i n d e n s i t y f r o m e x t r e m e l y d e n s e c l u s t e r s ( I e t t e r @ y w l t f r Z

p i tches w i th in a minor ? th in te rva l to a fu l l spread bas ic chora le type s t , rucrure- l

EXATIPLE 3

=r%(.i'??iler-%c)

; - : , i . t1 'wh ich i . s common to a l l o f the ensembles is the s t rength o f the vo ice lead ing: : :s , whether in the most dense or most open vo ic ings . To tes t th is , p lay the in -! a : i s l n t h e s c o r e , b a r s 3 9 - 7 1 .

t

: . - : the c ra f t o f the p iece has to do w i th tens j ,on and re lease. and cont ro l led var i -: - i :ns i t ] ' . The 56-bar ma in theme s ta r ts u t f i lw i th un ison ensemble . A t the beg in-- ; : q o a n n d n h r q c

r- - . - * - E L v , , u p r r r a o € a t l l l , i t c o n t i n u e s b r i e f l y i n u n i s o n , s p l i t s i n t o t w o p a r t s , a n d: { -pa r t c l cse vo i c i ng be fo re go ing i n to an ex tended passage o f t h i ckened l i ne made

: - : s = c l u s t e r s o f u p t o s e v e n d i f f e r e n t p i t c h e s p l a y e d b y t h e 1 4 v o i c e s . N o t e t h a t: : . - : a f o r m u l a v o i c i n g - - t h e i n t e r v a l b e t w e e n t h e o u t e r v o i c e s v a r i e s f r o m a m i n o r

Abo r r, (ooo

1 1 ?

?th to two oc taves , independent o f the melody range. In th is long passage (bars 48-67) , no

horns p lay bass no tes . Both bass t rombone and bar i sax do assume a bass func t ion fo r em-

p h a s i s i n s o m e c a d e n c e s ( b a r s 6 ? - ? 1 ) . E v e n t h e w i d e s p r e a d v o i c i n g a t b a r 2 3 6 i s s t i l l a

th ickened l ine ra ther than a bas i ,c chora le type vo ic ing w i th t rue bass . A t le t te rMeoU

rever ts to the bas ic chora le type .

Another po in t : desp i te the th j -ckness o f the c lus te rs , no t a l l poss ib le chord or sca le

tones are th rown in . Brookmeyer uses on ly those tha t g ive the co lo r he wants . The minor

9 th chords , fo r example , a re vo iced as 4-par t chords w i thout roo ts o r 1 l ths j r r the horns

(bars 43-45). Nor do the number of pi tches used remain constant from chord to chord. These

points are analyzed above score bars 33-67.

I t i s i .mpor tan t no t to confuse dens i ty w i th in tens i ty . Somet imes Brookmeyer decreases

t h e d e n s i t y a n d a c h i e v e s g r e a t e r i n t e n s l - t y ( b a r s 4 6 , 6 1 - 6 6 ) , o r i n c r e a s e s t h e d e n s i t l ' a n d

ach ieves less in tens i ty (bars 49-56 are the on ly cons is ten t ? -par t vo i .c ings bu t a re no t as

in tense as what p receded) . More impor tan t to in t ,ens i ty a re the ins t rumenta l reg is te rs an i

and presence and spac ing o f d issonant in te rva ls . A par t i cu la r ly e f fec t l ve cont ras t i s tha t

i n b a r ? 3 w h e n t h e t e x t u r e c h a n g e s f r o m s u s t a i n e d d e n s e c l u s t e r s t o t h e s i n g l e s o l o l i n e

set aga ins t s tacca to accompan iment .

HARMONY

Brookmeyer has a d j .s t inc t i ve way o f a r t i s t i . ca l l y b reak ing ru les tha t a re normal l ] ' use ' ito keep arrangers out of ' t rouble". There are many examples in HeLLo And Goodlrye. Aspit ' rn-

ar rangers need to unders tand tha t on ly in cer ta in c i rcumstances can you break these ru l i s

w i thout fa l l ing in to a t rap . For one th ing , they requ i re un i fo rmly top-no tch p layers . Th t

fo l low ing are examples o f some o f Brookmeyer 's ru le except ions :

1 . m ino r 2nds and m ino r g ths - m ino r 2nds a re va luab le sou rces o f d i ssonance i n vo i , -

i ngs . Thad ' s use o f t hem has been po in ted ou t . The i r i nve rs ions (ma jo r T ths ) a t ' - . '

impo r tan t no rma l pa r t s o f j azz ha rmon ic co lo rs . We avo ld m ino r 2nds be t l veon th i

t op two vo i ces because they tend to con fuse ou r pe rcep t i on o f t he me lody , Hoseve : ' .

EXAMPLE 5EXAMPLE 4

c13(bq) Eb''(fi )' l y , I ? M A 7 M t q

b.o.MA 7'5,

hb

Brookmeyer wri tes very obviousAnd yet we have no problem innon-stepwise interval and theany potent ial muddiness.

( tazee AND oNt \\ e A R � z g I

minor 2nds be tween the top vo ices in bars 43 and {5 .

hear ing t t re me lody - - i t moves th rough a d is t inc t j . v=m e l o d i c f i g u r e i s p a r t o f a s e q u e n c e w h i c h c l a r i f i e s

1 1 8

- t , : ther a r rangement o f the no tes in a minor 2nd is the oc tave d isp lacement wh ich1:oCuces a minor 9 th in te rva l (Exanp le 4 ) . Th is sounds much more d issonant than:: . : ninor 2nd or major ?th interval and is strongly avoided normal ly (none of these=: : found j .n the Nest ico or Thad Jones scores ana lyzed here) . Many spec i f i c ru les- : :humb guard aga ins t the minor 9 th in te rva l : no # t l ths be low a melody 5 th ; no

f,9:hs below a melody 3rd; no 13ths below a melody ?th in a dominant ?th-type chord;: . - :a jo r T ths be low a melody roo t ; e tc . . Brookmeyer usua l ly fo l lows these gu ide-- : : .es , bu t on occas ions he employs the minor 9 th in te rva ls in very obv ious p laces ,

-^:ar11'enjoying the sound. Bars 229-232 and 237-238 (Exanples 7 & 8) are clear ex-' - r lpq n f rh iq qs are the in t roduc t ion to l l i l l ow l ' l eep For Me and the second s t ra int t L L L V U t t

-

- : - i t . Lou i s B lues (bo th reco rded by t he Thad Jones -Me1 Lew is JazzOrches t ra ) .

E \ \ U P L E 6

Bb-nz-, EbVq( * t r ) , cl3 --r G r ' a r q - l

A V O I D 600D AvotD 600D AvorD GooD A v o t D G O o D

EXAMPLE 7

M l q ' s

l : . - paral lel minor 9ths sl town in Exanple 7 are especial ly bi t ing because of the par-.^^:1 movement of two l ines a minor 9th apart . However, they are proper chord parts-. : are not 'wrong" notes, and this bi t ing dissonance has been saved for this f inals: ,D'- : t chorus. Nowhere else in the composit ion has Brookmeyer used i t . He further-: , : reases the intensity of the dissonance in bar 237 (see Exanple 8) by doubl ing thei -ssonant 9 th in oc taves in t rombones and bar i sax .

M t q I l M A T

Er.rre Fme"Cr,roe(*u)

1 1 9

EXAMPLE 8

The minor gths between lst t rumpet and lst t rombone in bar 250 (Exanple 9) work be-

cause each vo ice is p lay ing a compel l ing l ine o f i t s own. The lead t rumpet i s p la ] - -

i n g a d i a t o n i c s c a l a r l i n e o n a f a m i l i a r m o t i v e , w h i l e t h e t r o m b o n e i s p l a ] - i n g a

s t rong l ine tha t f j . t s in to the chromat ic subs t j . tu te chords .

EXAMPLE 9? l l\ t M l ob-,'(H)F,vr" ='(ri)

M r q

(z<e) (aso)

2 . s i m u l t a n e o u s 9 t h w i t h a l t e r e d g t h s - I n t h e l a s t c h o r d o f b a r 2 5 0 , t L r e n o r m a l l l

mixed w i . th a l te red g ths (a1so no t found in the Nest ico or Thad Jones

here) works here as a cluster impact chord in which each of the thre:

d issonance ( l s t tenor , 3 rd t rumpet , and 4 th t rombone) have na tura l l l '

i n and ou t o f the d issonance (see score bar 250) .

scores s tud iedvo ices on thes i n g a b l e I l n e s

3. syn the t ic harnony (harmony tha t i s no t iden t i f iab le as an id iomat ic jazz chordr -

found th roughout Brookmeyer 's wr i t ing , i t re f lec ts the conf idence o f a mus ic ian t t f ro

has heard the surpr is ing and sa t is fy ing harmony tha t resu l ts dur ing the improv is ing

of severaL f ine mus ic ians who ar r i ve w i thout p lan a t a cadence. The s t rong vo ice-

leadj,ng of each player adds up to synthet ic harmony. The recordings of Brookme]-erw i t h G e r r y M u l l i g a n o r J i . m H a l L i l l u s t r a t e t h i s p o i n t . T h e p r e v i o u s t w o e x a m p l e s

could be considered synthet ic harmony. Another good example j .s the pi le-up of notes

in bar 90 , wh ich goes beyond convent iona l chord symbols . The second chord in bar

49 (Exanp le 10) cou ld be ca l led A+3 ooo ! { , ac t ing as an upper chromat ic dominant

t o t h e f o l l o w i n g A b 3 u s c h o r d . B u t a h i s l r h n * i " f O v a n d n o n - i d i o m a t i c s y m b o l d o e s n " .exp la in why i t works so we l l . I t s a lmost compel l ing log ic i s the s t rong ha l f -s tepreso lu t ion o f a l l non- lead vo ices in to the fo l low ing chord .

Enrra Fnaaq Et ' l r {

1 2 0

I

i

EXAMPLE 10

+ . s : r u l t a n e o u s t 5 t h s a n d ! 5 t h s

(ADD c*)

A+'3srg

4a4bn 4be"rr(rDD c)

(1el

t hese appea r i n pa ra l l e l mo t i on i n bar 232:

EXAMPLE 11

(aoo #s) (4oo #s) (aoo f s) (4oo *s)CueT DD-a7 D-a7 ED-e?

l : s i s a n o t h e r r u l e b r o k e n a n d n e e d s n o o t h e r j u s t i f i c a t i o n o t h e r t h a n t h e f a c t: : . ' : i t i s n e e d e d f o r a m o m e n t a r y b l u r o f d i s s o n a n c e ( s e e B r o o k m e y e r i n t e r v i e w ) .l - s doubt fu l tha t we cou ld remember the pr io r use o f s imu l taneous {S tns anO {St f rsr: iA-- '€r l the melody and accompanlment in bar ?3 to be able to relate i t to the chords- : - : : i I ' 232 , ye t these compos i t iona l de ta i l s may a f fec t us subconsc ious ly and g ive a! - : - : un i t l ' and c lass . Contemporary non- jazz composers devote grea t a t ten t ion to: - : d e t a i l s .

EXAMPLE 12

1 - p

a/ ' . l , i i ry

p fih+ hh{F:81A

t

0t)

L 2 L

5. suspended chords w i th 3 rds - suspended dominant ? th chords w i th 3 rds (o r domj .na i :T ths w i th 4 ths) a re normal ly fo rb idden because o f the obv ious cont rad ic t ion o f har ' -ing a simultaneous suspension and resolut ion (4th and 3rd in the same chord) -- no:- . .a re found in the Nest ico or Thad Jones scores s tud ied here . In cer ta in s i tua t ions .Brookmeyer and o ther wr i te rs , inc lud ing the la te 01 iver Ne lson and more moda l co : r -posers , do use them. In HeILo And Goodbye, the f l rs t me lody no te in bar 17 soundsa chord 3rd (C) aga ins t the marked nb3us (Exanp le 13) , and in the 8 bars o f Ah i - .f rom bars 49-58, the c lus te rs cons tan t ly inc lude C 's (Example 11+) . In these cases .

EXAMPLE 13

EXAMPLE 14

t he 3 rd seems to f unc t i on as an uppe r ex tens ion ra the r t han as a cho rd 3 rd . I t ca : :be though t o f and t rea ted as t he 13 th o f t he Eh r . r r 13 ove r t he dominan t roo t Ab , s , ' .Exanp le 15 ) , and th i s sugges ts a no rma l vo i c i ng i n wh i ch the 13 th i s h ighe r i n t i : . .c h o r d t h a n t h e s u s p e n d e d 4 t h . T h i s i s , i n f a c t , t h e w a y B r o o k m e y e r d i d i t i n h i sa r rangemen t o f S t . Lou i s BLues fo r t he Thad Jones -Me l Lew is Orches t ra (Exnnp le 1 t ,

EXAMPLE 15 EXAMPLE 16

Eb'rr/O,

Ab" r,,

F 13 (ADD 4)

t22

Srrever , in the examples no ted in He l lo And Goodbye and in the k ick -o f f chords in{91 B iues (bar 46) , the c lus te rs inc lude low 3rds gr ind ing aga ins t the ad jacent 4 th5.; : . - .ple 17). Brookmeyer does not constant ly use suspended dominant Tths with 3rds,

:--- : r .n progressions with changing harmony (as at 65 in Hel lo And Goodbye), but only^ : passagos o f s ta t i c harmony (bars L7-24 and 49-64) .

EXAMPLE 17

6LUES, BAR

6b rs (roo a)

b e . : . t /

r23

HELLO AND COODBYEby Bob Brookmel,erM e d i u m S w i n 3 J = . ' l 6 0

r lst TanorI bd Tcnort

Baritone

- ts t

; 3 r- (ei i ) 4l

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2 Tenor

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,l Tiumpets

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Bass

| .aooraLr , wr rFour \f r r F ! r c r r o i - . i s 7 ^ x D ,

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Nr -t

g r o d u o l l g t h i c k e n i n g l i n e t r o n u n i s , i S o o s t o t u l l c l u s t e r c

125

ls t Soprono

z n d s o p F a n

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lst Tenor-Se;n

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lstTrbs

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i n t e n s i t g b u i l d s ' i n d e p e n d e n t o l d e c r e a s i n g d e n s i t g

g f - , e g f - , r F # M , % ( M ^ 1 ) ? ( i l ) A o B D q C M A gleb- -ilARtoNtc

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b :hEl_____.-i:3

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lst Tenorvret

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lst

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lst TenorS-.;t

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f i a : i A >

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1 4 6

"tirst Love Song"

by Bob Brookmeyer

recorded on the I i ISIDE THE SCORE casset te

and on nB0B BRooKIIEYER - C0! |P0SER E ARRAT{GERI i ( i le l Ler is Jazz Orchestra - Gryphon G-912)

F i r s t Loue Song i s a t once bo th ex t reme ly s imp le and ex t reme ly comp lex . The comp lex i t Ji s i n t h e v e r t i c a l c h o r d s t r u c t u r e s a n d i n t h e s o p h i s t i c a t i o n o f t h e c o n s t a n t s u b s t i t u t e

cho rds . The s imp l i c i t y i s i n t he song i t se l f and i n t he f o rm o f t he a r rangemen t .

MELODY

T h e s o n g f o r m i s A - 4 1 - B - A : 3 2 b a r s p l u s a o n e - b a r c a d e n c e e x t e n s i o n . T h e m o t i v e s a r e

c l ea r l y s ta ted and deve loped i n t he song s t ruc tu re (Exanp le 1 ) . The un i f y i ng power o f t he

sequences and ascend ing l i nes and l eaps i s power fu l . The bas i c key scheme i s shown i n Ex -

o n n l e 1 .

1 4 8

. t { : : - : :

S T ' . O N 6 A S C E N D I N 6 L I N ET O H I 6 H E S T N O T EOF 8 gAR PI {RASE

I N v € R T I DA R O L C A A S M O ? f \ / g " L € a ^ e � " M o r l v t s

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L k g Y o r E b Ltcgv op 6

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RXYTHi l Ic ' T A T I O N

v o P g b -

T A G S t A U e N C g E U t L TOr{ R,SORDTEI ,€D MOTIVE

' . l - R E C A P

. "'lL)M I S L E A O I N G M O V E

T O \ ^ , A R , D S t 3 c . O N OP H R A S € V t R , S r O N

L tcEv op eb---t (eb}-->

r 4 9


L i k e H e L L o A n d G o o d b y e , t h e i n s t r u m e n t a l c o l o r s a r e d l s c i p l i n e d a n d l i m i t e d , k e e p i n g

rhe focus i n t h i s case on the me lody l - i ne a .nd the r i ch ha rmony . The f i r s t two and the l as t

ph rases a re p layed by me l1ow b rass ( f l uge lho rns / t r ombones ) and 1ow f t u te and c la r i ne t s p la f -

i n g c o n s t a n t l y i n r i c h , e x t e n d e d h a r m o n y . T h e t h i r d p h r a s e i s s u d d e n l y t r a n s p a r e n t w i t h

t h e p i a n o s t a t i n g t h e m e l o d y l n s i n g l e n o t e s w h i l e t h e f l u t e a n s w e r s .

A f te r t h i s f i r s t cho rus , t he p iano p lays an B -ba r t r ans i t i on ove r t r ombone and woodw ind

p a d s , l e a d i n g t o a l o n g f r e e p i a n o c a d e n z a s t a r t i n g i n C m i n o r . B o t h t h e p u b l i s h e d s o l o

a n d t h e J l m M c N e e l y s o l o o n t h e M e l L e w i s r e c o r d s t a r t i n C m i n o r , t h e n g o t h r o u g h e i t h e r

F m ino r o r D ma jo r t o a f i na l BbTsus to se t up the w r i t t en - i n me lody l i ne w l r i ch l eads back

t o t h e E b m e l o d y ( w h i c h s u r p r i s i n g l y a l w a y s s t a r t s o n a G F m a j o r c h o r r i ) a t 4 4 . T h i s i s

aga in p layed by me l l ow b rass and woodw in r l s , anc i l eads up to a cadence i n Eb be fo re end j -ng

o n a C L : l $ r l . T h i s e n d i n g o n a C b a s s a n d t h e r e t u r n i n g o n e - l i n e p i a n o f i g u r e r e m i n d s u s

o f t he p iano so los i n t he b r i dge a t l 7 and the p iano cadenza i n C m ino r .

I have inc luded no dynamlc contour char t in d iagramming the fo rm because the dyn i rn ic 's

a r e t o o s u b t l e t o s h o w m e a n i n g f u l l y . T h e i n t e r e s t i s h a r m o n i c a n c l m e l o d i c . E a c : h p h r a s e

h a s a f o c u s o r a r r i v a l p o i n t , a n d t h e w h o l e c h a r t s e e m s t o " a r r i v e " o n t h e t h i r d b e a t o f

bar 51 . Th j -s |s 88% o f the way th rough the char t , no t too d i f fe ren t f rom the 83%-po in t in

H e L L o A n d G o o d b y e .

EXAMPLE 2

F O R M : 4 - 1 1

lruRsr 8 ISECOJVD 8 Eil.�RnH s

KEYS: Eb

lTRANsrruoil ffi lrruprruo

A

1 2

P tAltoTRB. PAD

P tAt{oCADEIIZA

/i

MELLOWEl{s.

P I A N OSOFTElrs.

P I A}IO/ FLUTE

ARRIVAL POINT88% THROUGH

F m i Cn i

1 5 0

ORCHESTRATION

H A R M O N Y

- r : - : ' : t v e c o l c r s o f I i r s t L o u e S o n g d e r i v e f r o m t h e u s e o f f o u r f l u g e l h o r n s i n' ' . - i . : s a n d f r o m d o u b l i n g t h e l e a d f l u g e l h o r n l l n e w i t h f l u t e . S a x o p h o n e s a r e- ' i t he t h ree c la r i ne t s and bass c la r l ne t , a re m i . xed i n w i t h t he m idd le and l ower: . s o n e t i m e s d o u b l i n g h a r m o n y n o t e s ( b a r 1 1 ) . M o r e L m p o r t a n t l y , e a c h o f t h e: : p l a l ' e d b l ' t h e r e e d s a n d b r a s s i s a m e l o d i c l i n e w h o s e v o i c e l e a d i n g j u s t i f i e s

l s : o f u p p e r e x t e n s i o n s l o w i n t h e v o i c i n g s ( n o t e t h e b a s s c l a r i n e t l n b a r 1 1: : h e t r o m b o n e n o t e s ) .

: r ] ' o f l - t r s t I ' o t ; e S o n g i s c o m p l e x a n c i w i l l b e d i f f i c u l t t o u n d e r s t a n d u n l e s si s t h e u s e o f s u b s t i t u t e c h o r d s a n d t h e c o n c e p t o f t o n i c i z a t i o n ( o r t r a n s i e n ti l s t ' x p l a i n e d o n p a g e 5 5 ( a n a l y s i s o f T h r e e A n d O n d .

. a n a 1 1 - s i s u n d c r t h e c h o r d s y m b o l s b y f i r s t i s o l a t i n g t h e t r a n s i e n t t o n i c ( I ) ,: i l ' p r i o r cho rds and t i r e i r exp lana t i on as cho rd f unc t i ons . P lay t he cho rds a t- ' ' ; u ; t r l ( 1 . ] ' . B e y o n d p l a y i n g t h e s e c h o r d s a t t h e p i a n o , p l a y o r s i n g i n d i v i d u a l

. ' , " t h e i r v o i c e l e a d l n g . A t t h i s s l o w t e m p o , t h e l o g i c o f t h e s e l i n e s i s u n -

. ' - 1 i L .

. . \ ' o t l m u s t k e e p i n m i n d t h e c a u t i o n s o n r u l e - b r e a k i n g e x p l a i n e d i n t h e p r e -. Y o u r n u s t a l s o r e a l i z e t h a t t h e p l a y i n g m u s t b e e x t r e m e l y w e l l i n t u n e f o rt ' ' ,s t .c t ivork.

1 5 1

FIRST LOVE SONC6/s6Wwm )= c.6o

(saur rnm mvroo mt m roo

by Bob Brookmer,er' 5u3 .

5Ax PAR|S"RoY Foe du

lst BbClarinet

znd Bb Clarinetsa;Cl

3rd Bb 0arinet

Bb Bass Clarinet

Trbs

lst

2nd

3rd4th

4n,r C+

! J / * i l \ r

{ ,3) ( r ' ($, . ) l i l )6 b r ' g - " ' g r - o ' G D - o ' C - q A - " D . ' O - q o"1.1,,- u-: o.r{bc)cM,c #}Ji,:: rlii)

CoPYRTGHT ! 1979, 1980 8y ERook iEyER rus tc - usED By pERxtss toN[L RIGI IS FES€RVEO . INT ' i iATIONAL COPYRIGIT SECORED

1 5 2

F&€

.; !t kna

iro !t lrF{

;- !t ::a]r(

Itr l.d ]lru<

Y

:rirrl

*, Qfu an e't t t t

a u, , / l l l ), " ' .1-/ ED

v /, / I

, ( , t ) , ( r r ) , ( a , ) { t ' . )

6 b F ' a - o - E b - o t G D . o o C . ' ' A - ' 3 A D '

( r s r r u B r a r - ) G , I [ - , ' b [ 7

D - , , ( b s \

, D c ) { b s l t r . q \ A . G c / r o , t ' ( i "

, z s 6 b ' t 4 - , . B * ' C - , D - r r s . / 6 / F i F - a ' 3 L " ,

6,I rv," I I I+1 15.9 'y. 'sut* i t / * b E* '

q,Y7" ,sb l l7 I . , t fE,br r r ' l' x t ?

1 5 3

:! i Bt Clarhet

-$ B2 Clarinet| rc

>d Bt Oarinet

E? Bass Oarinet

Itpt s

lSs

# t o x s u b t , p l a A p p

t o n i c s n t i c i p o t i o n

, "^, , ( f" : ) NEI (b5,E b * D + 7 . / C f r c - ' o

hf

6 w a l/ 6

L,r'itl v*'2*tr r.s'T t,/N

Ab'n- , 'b ] [ "

1 5 4

iM !t -trG

l*i P -a..lF

J l+- -a:m

Gu,'l GbrS Fu,r 8b+ft t t t

c o n n e c t i n g n o t i o e u t e d I o t e r i nb o r 4 3 E e x p o n d e d i n b a r s 3 8 - 4 1

, @) 'ERY sorttY

3 Z3

nf nt

1 -

t: + : -

?

1 5 5

lst Bt Clarinet

Bt Bass Clarinet

TY pts

E

lLAsr aae & AArol (G"t" 1)I C A A E N Z ^ C G D I N A U I -\ prers. rry r tnpo. '

(44/ 1n.*r

3nd-s"Gl

3rd

lst BrClarinet

Bt Clarinet

Bt clarlnet

BD Bass Clarinet

Trpts I

Trb s ; - - - - - , -

a . l t - l=1=.F==1n --i

v : t t J

n i t l e a d i n g f r g u e t o u o r d s e c o n d p h r a s ev e r s i o n i n G b e f o r e r e t u r n i n g r a ' : r n ip h r o s e r e p e t i t i o n t i n E b

F=-r=-__--:::-:::::::::::::::::::-

(A5 r t -cuEo rN aN3)

r 5 F

- {

5d

:.d$h

lad

{rb

Ba is

Dnns

fditrr

Piu

1 5 7

"ABC Blues"

by Bob Brookmeyer

recorded on the I I {SIDE THE SC0RE casset te

and on "THE JAZZ 0RCHESTRA" (Thad Jones / t l e l Le r i s Jazz Orches t ra )

ABC B |ues , i n con t ras t w i t h HeLLo And Goodbye and l - i r s t l ' oue Song , does no t s ta r t w i t h

a s i m p l e , s i n g a b l e d i a t o n i c t u n e f o l l - o w e d b y r i c h c o m p l e x d e v e l o p m e n t . I t b c g i n s w i t ' h a t r

obv ious a tona l - me lody i n a t yp i ca l po in t j , l l l s t i c a tona l t ex tu re and g radua l l y makes us hea r

th i s a tona l me lody as be ing pa r t o f t he b lues vocabu la ry .

T h e t o n e s e t i s o f 1 1 t o n e s ( o n e F i s r e p e a t e d ) :

EXAMPLE 1

bo

The las t th ree tones ( in b rackets ) a re

u n t i l t h e f i n a l r e c a p o f t h e o p e n i n g .

In keeping with the aj ,m of

te r t ian s t ruc tu res , Brookmeyer

? th . These in te rva l -s no t on lY

EXAMPLE 2

no t used a f t e r t he o r i . g i na l po j - n t i l l i s t i c appea ranc { '

The f j - r s t t en no tes become the b l -ues me lody .

the a tona l i s ts to negate any fee l ing o f tona l i t y and to avo i r l

s t r e s s e s o u t s i d e l n t e r v a . l s : m i n o r 9 t h , m i n o r 2 n d , a n d m a . j o r

s e t u p t h e a n g u l a r d i s j u n c t i v e l i n e s t l r a t g i v e i t a s e r i . a l

t e x t u r e , b u t t h e yv i o u s t w o s c o r e s ,a.nd 82.

areand

s o m e o f B r o o k m e y e r ' s f a v o r i t e b l t i n g

t h e y s e t u p l o g i c a l l y t h e v e r t i c a l da s s h o w n i n t h e p r e -

s t r u c t u r e s i - n b a r s 5 8in t e rva l si s sonan t

1 5 8

I

: : ar^r ce I I o f four tones3 :C and 4 th t r ombones ,

is the one hea,rd in theand p iano ( see Exanp le

mo t i ve i n ba rs 26 -27 p layed3 ) . T h i s m o t i v e t u r n s o u t

EXAMPLE 3

- ; : - rc lpa l shout f1sur1 u tE land is harmon ized as a background f igure in bars 5g-- : r - r e c l c s e l ' v r e l a t e d t o t h e o r i g i n a l t o n e - s e t t h a n i s a t f l r s t o b v i o u s . T h el - - : : rc tes o f a se t a re the ones most eas i l y remembered. r f we pu t the f i rs t th ree- - - : : l : : : : " ] : . T ^ 3 0 ?

r o u r t h t o n e o r G ( t h e o n t y p i t c h m i s s i n g i n t h e o r i g i n a lv r a 5 a l l 4 l: ' nake two in te rva ls o f a minor 2nd separa ted by a major 2nd, we have the t rans-: ' > - , ' n o f t h e m o t i v e f r o m b a r s 2 6 _ 2 7 :

EXAMPLE 4

= r a d u a l t r a n s f o r m a t i o n- a l c u l a t e d s e q u e n c e :

o f t h e o r i g i n a l 1 0 - t o n e a t o n a l l i n e i n t o a b l u e s l i n e f o 1 -

p r z z r c a t o b a s s a n d d r u m d u e t _ _ t h i s j a z z v e r s i o n o f a: e _ \ l u r e l e a d s i n t o :

a n o u t - o f - t e m p o p o i n t i l r i s t i c p r e s e n t a t i o n o f t h e t o n e - s e t' t o o d w i n d s , p i a n o ( m o r e " o r c h e s t r a l - , , c o l o r s )t ,heme in muted brass ,

: ree drum comments , then f ree bass comments lead ing in to wa lk ing t ime w l th a tona lL : r t , ches fo r 8 bars

: n i s o n t o n e - s e t t h e m e i n m u t e d c o l o r s a n d w i t h i r r e g u l a r r h y t h m s w h i c h t a k e o n a; azz neantng.

: r e e p i a n o s o l o i n t o f o u r b a r s o f t i m eu t E l t h e e n s e m b l e p l a y s t h e a t o n a l t h e n ec l u s t e r s i n m e l l o w , i n t o - t h e _ s t a n d c o l - o r s:hromatic motion gives more j azz f l ,avor andahead t ime a t@

p e r c u s s i v e , p o i n t i l l i s t i c

h a r m o n i z e d i n d i s s o n a n t b u t j u s t i f i a b l e- - - i n b a r s 4 0 - 4 1 , t h e l o w o p e n _ s p a c e dleads in to the f luge l so lo in s t ra ieh t_

I {ALFS T T P

F U L LS T I P

H A L FS T g P

ToNe *l

- ?z-J t- 1 -t- Y7

1 5 9

7. a f te r th ree choruses o f b1ues , the band shouts a t@on the 4- tone mot ive shown in

Exanp le 4 , the f i rs t t ime the who le band has reached th is a l I -ou t i azz peak - - the

l a s t f o u r b a r s p e a k i n t h e b i g g e s t c l i m a x o f t h e c h a r t , k i c k i n g i n t h e t e n o r s o l o

a t E l - - a p o i . n t i l l i s t i c t e x t u r e o f p y r a m i d a c c e n t s u t E l k e e p s u n i f v i n s t h e s c o r e

i n t h i s a t o n a l v e i n ,

g. as the al to solo starts utEI the drums almost disappear and the dynamics come \{al '

down before gradua l ly bu i ld ing aga in '

9 . on the D.S. , another shout and c l imax br ing in the t rombone soLo a t [T l - - a t [ ] tne

texture changes dramatical ly behind the trombone as everyone but the bass drops out

and again gradual lY bui lds '

10 . as the t rombone so lo ends , the o ther so lo ins t ruments g radua l ly en ter fo r a mu l t i -

p l e i m p r o v i s a t i o n w h i c h i s o n e m o r e j a z z v e r s i o n o f a t o n a l f r e e t e x t u r e - - - t h i s

th ins ou t and qu ie ts to lead to the bass cadenza '

11 . one more recap o f the un ison and harmon ized theme leads in to a f ina l vamp wi th a

. D u k e - i s h , , m u t e d t r u m p e t s / s a x e s v o i c i n g t h a t s w e l - 1 s u p t o a s m a l l e r b u t e f f e c t i t ' e

f i n a l c l i n a x b e f o r e q u i e t i n g t o t h e l a s t h e l d c h o r d '

one o f the t raps in p ieces wh ich combine non- jazz and ' jazz e lements i s tha t ' a f te r a

. .ser ious , , in t roduc t ion and a t rans i t ion in to jazz fee l , char ts o f ten Ie t down and sout id

ord inary go ing in to s t ra igh t -ahead jazz . The fac t tha t ABC BLues does no t faL I ln to tha t

t rap is no acc ident . rn add i t ion to the care fu l l y worked ou t t rans format ion jus t ana l ] ' zed '

Brookmeyer counted on h is so lo is ts and rhy thm sec t |on p layers to p ick up the ser ia l s t l ' Ie

and carry i t into their solos and background comping' Beyond that ' the use of minor chorcis

w i th ma jor ? ths ln bars 40-43 a t the end o f the harmon ized vers ion o f the theme cas ts an

u n u s u a l c o l o r o n t h e b l u e s c h a n g e s w h i c h p r e v e n t s t h e m f r o m f a l l - i n g i n t o a n o r m a l b l u e ' s

s o u n d . A 1 s o , t h e s u b s e q u e n t c h a n g e s i n r h y t h m s e c t i o n t e x t u r e b e h i n d t h e s o l o s h e l p t c

sus ta i -n the fan tasy qua l i t y o f the char t '

The fo rm o f the ar rangement and i t s dynamic contour look l i ke th is :

EXAilIPLE 5

P 0 | l t T I L L I S T l CEilS.

BASS/DRUI,ISDUET

DRUMs0L0

BASSs0L0

BASS T II,IE

ADD DRUilS

ult ts. AToltALTHEI.IE - I.IUTEDBRASS & I{T{ P tAfio s0L0

l 1 {T tl.rE

r-1I

A-

1 6 0

6\y

+"|nrtr I zED Ers.- T-M^L THE}C

o

@ il!:'+hL,P''

ENS. I TEI{ORATOIIAL

YRAI,I ID

EASS/DRUilS,II DUET

A I A- ' -

MUTEDCHORD

t l lI t r

iltf t lt t l

@l lI VAMPf B x ' s

DRUH Is0L0 |

@I

BASSs0L0BASS T I I IE

ADD DRUH

UX IS. THEI,IE -MUTED BRASS

f "o'

1 6 1

8As5 * DRUMs-Ab LI8 DUE1

) . c - 6 0 - R u b a t o

(cr ie.1 ) .

ABC BLUES

: I J

Z-s -€

O R U M 50Lo

bySAsS SoLo

Bob BrookmeyerA T e m p o _ S w i n q ) : < 1 t O

E;sl

Tlpts j

Trbs

2ndopt. Bass Clar

Baritone

lstopt,

adopt, Flute

lst

S o l o F l u g e lo p t . )

:-

lst

2nd

3rd4th

/rces,\ nl >l c u P I

A TMUTES/

nP(ore

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(aass: srevs oowl)

t

to lo ao Lr8

/olss ' souo\ nf\ A D L t g I

'

r'et. I

E

lst

2nd

3rd4th

( . u P )

( FREE Two. 6EAI FSEL)

C@lRlGHT ! . 1966 BY DARTTOoRE lUSlC. i ASSTGTEO !978 TO EROO|XE\ER t l s lCALL RIGHTS RESERVEO - I ITERTATIONAL COPYRlCHT SECURED - ISEO BY PERNISSIOT

L 6 2

( F R E E A U O ' G A f F E E L )

III

IIIIIIt

lE:'E{

Frtr1.

{i Tff

: ; - - ] � � ' " k (

lrm

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lrdtrl

(8435 : As rS)

i n p o r t o n t n o t i u e , d e u e l o p e d o t 8 )

P I A N O S O L O A ' f e m p o

F[[t

s T i l

i..*- -[.'ffi

!ry@

. F

:ril

nsr

mP( t R P r s , l N s r a

( T R a s : t N s r A N D 5 )

1 6 3

/ e r o \ a P

1e; IsoLo, f (e rc .1

Clarinet

ad

lst Tenorstsl

Bass Clarinet

Baritone

Trpts j

Trb s

3rd4th

lst

(?ll9

6 - , ( v e r ) g b - , ( v a ? ) D b M , ( M A r ) A b M , l

. 6 s r z 'E M l t M A 7 ) , / t o

1 6 4

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( r t J o e e o z 3 F J r R p i . s o r o l s t x o x r v )( c o N r r N u 6 A L r o s o l o o r u o . s . o r u r v )

1 \ ( J \ b s / \ 8 r e

S O L O A O L I g - T A C E T O N O . 5

c'( B3)

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1 6 5

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t '*;

Trb s

Baritone

lst

2nd

3rd4th

lst

"e'(f;I)

c'(82)

"6, (El)

eo'(83)

lreers\ PI DEe" I\ srANo ,l

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(uIi;.';.?#.?'F c.r' ob,l.^' EouT

{6assr souNorNo EvA cassa)

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(6 ta : coL P i lo . )

EMA?(bs)

fim#--m

1 6 7

Clarinet

znd

lst TenorS"t* I

Bsss Clarinet

Baritone

F* t t"ut

7 4 / / / , /

6t3rr.

o,(92)/ / / / / / / /

lst

2nd

3rd4th

ssP

t j F - -

,rrrr' ooruiut' - z- n 2-t

(z:-;1

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c,G?)

t rfilt0ilIcDETAI L

1 6 8

/ero arto\a r I S o L o o N l a ,'

\ o .s . / ;

s h o u t b u i l t o n f r o t i v e' l r o n b a r t ) 6 - 2 7

(P(AY aotH x '3 )(a!to)

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s l -

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"b, (91)

eu'(83)

/ / / /

r€

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1 6 9

(s lxes : Evzr a rxs) - - 1

89

^ C r' i - 1 * i l + '

s o L t

"o b1^c-* i^lst

ardAlto

lst TenorEGI

Bass

Trpts I

Baritone

lst

2nd

3rd4th

lst

E

,lARl0rVl CDETAIL

1 7 0

(ENs.)

f iî

(6rR: coL 1rt rEg. aYA)

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o r ' ( f l ) c ' r r . r , . t i l , B , ' (1 " i ) 4 ' ' r c ' 4o ' ' , f , i ; 6z ̂ " r+ ' ( f ;1

1 7 1

lst

hd

lst Tenor

(1s i lRc . so lo oN D.s . )

Gta.l la

Serx

Bass Clarinet

Baritone

p r(f r)

Z - z

E

-

cor PNo. )

4b r r c r 3 O M r ' t r + 'Db 7 (*4)

lst

ard Nto

lst TenortE;.s'

Bass Clarinet

Baritone

lst

2nd

3rd4th

@

o p E N R E P E A T ( f E N o a J o ! o - l 3 t , r r M € T g n o u e r l i t B N s l o - o N( S A X E S ( B R A S S : P L A Y 1 S I X O N L Y )

:-.---.---.-

( s o t o s o L r e a N o . s . o N L Y )

(GrR: cor p{o.)

aa, (EZ)

Eb r3( *c ) Bo '( us,/ F 7 ( fc)

c'( l?l

L 7 2

E b t3 ( f ,e) aa' ( l ! ) F a ( * q )

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1 7 3

S.x;nBass

Clarinet

znd Alto

lst Tenor

Bariton€

r 3 5 ( f o a L

(c t? : coL ?No. )

E Ma7(bs)

f tpt . I

E2nd

3rd4th

F l u g e I

C a ' 7 tra (*.)Guitar

PT

Bass

\ /(ALro)

S O L O A D r t 6

Glst Alto

2nd Alto

lst Tenors-dl

Bass Clarinet

T .p , f

Trbs

lst

2nd

3rd4th

C t ! ( * c )

! l u g e 1

L 7 4

A - ,"'9t(*<l t 5 ?

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(pAcE r65)D. s. ar{+tol

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1t7 (1 \

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F t3 ( tc) c'(9i)

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1 7 5

Ga (#q, C, (

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S.;ABass (larinet

Beritone

T rp t s2nd

3rd4th

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(cYM.)t,

(6T.. col pro. avt)-

srrus oowx)

(cv? Mvrc

Trb slst

2nd

3rd4th

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- : - " ' ' ' " ' i ' t ' s g o o d w h e n p e o p L e s t a r t e x p e r i n e n t i n g , L o o k t r t g u r o u n t l t h e p i a n c t t o r e o L i z e- - ' : : : - ' e t e a r e p u l l s a r L d p u s h e s , L i k e o p h y s i c a L p r e s e n c e . I J ' y o u L e o r n t c t L o o k l ' o r: ' : ' - z I I g i u e y o u a n o t h e r d i m e n s i o n i n s e l e c t i n g h a r n o n i c m a t e , r i q . - . s .

" ' ' : ' t f l e pe rson p lay ing a lone i s d i f f e ren t t han one pe rson p l cy ing J ' r t r r : ne s th .e r pe r -- " - | nd one pe rson o lay ing unoccompan ied anong 77 pe rsons i s d i f Je ren t t han one pe ' r so t r

: ' : " . : ng f o r 3 , 000 peop le . The dynan i c changes a l l . t he t i ne . i ' Tuun r t t ho t wLLen Me L ' s- r ' . - : . 1 ' - r . r ' s r n y a r r a n g e n e n t o f ' S k y l . a r k ' ( t h e f i r s t w r i t i n g I ' d r l o n e f o r a w h i L e ) , t h e r e- : ' : i ' t L t l l t - i n f o u r - m e a s u r e r e s t a t t h e e n d u h e n t h e a u . t l i e n c e n e u e r c l i r l a r t y t h i r t g . I t- : : c o n p l e t e l y s t i I L . S o I h a d c o n t r o l o f t h e n f o r f o u r b r z r s . S a n t e w i t h t h e s i n p l e: - - . : . c a l l e d ' S o d

S o n g . ' I t c o n p l e t e L y f L a t t e n s o u t t h e V a n g u a r c l a u d i e n c e . T h e r e ' s- " ' : : n o e n o t i o n l e f t . I t s e e m s t o h a u e a p o w e r f u l e f f e c t o n p e o p l e . W e h a u e t o p l a y' - ' . e t h i n g L r k e ' H e L I o

A n d G o o d b y e ' a f t e r w a r d t o c h e e r u p t h e a u d . i e n c e .

1 ? 9

RW: That must rea l l y be gra t i f y ing , to have such communica t ion w i th the aud ience.

B B : Y e s , a n c l i t ' s i n t e r e s t i n g a n d c h q l l e n g i n g , a s y o u r e a l i z e y o u h a u e s o m e p o u e r o u e r t h e

a t n o s p h e r e , a n d m o o d , a n d . e n o t i o n s i n t h e r o o m . T h a t ' s a d i n e n s i o n o f w r i t i n g t h a t

d . o e s n ' t g e t t a l k e d a b o u t t o o m u c h . M o s t o f t h e y o u n g w r i t e r s I h e a r j u s t s e e n t o g o

s t r a i g h t a h e a , J a n d g e t m a t e r i a l o u t , a n c l f i g u r e , n I ' L I d o a b i g t h i n g h e r e a n d s o m e

s n a l | t h i n g s a n d s o m e s o l o s , " n o t r e a l i z i n g t h a t t h e y c o n t r o l n o t o n l y t h e n u s i c b u t

t h e f e e l i n g s o f t h e g u y s i n t h e b a n d a n d t h e p e o p l e u h o h e a r i t .

R \ { : How d id the fo rm o f 'He l lo And Goodbye ' evoLve?

B B : I w a n t e d . t h e b a n d t o s t a r t p l a y i n g a s i f t h e y w e r e j u s t n a k i n g i t u p ' I d i d n ' t u a n t

t h e n e l o c l y t o b e i n p o r t a n t . I w a n t e d t h e w h o l e t h i n g t o s t a r t j u s t L i h e a L o n g L i n e

d l a w n o n p a p e r , j u s t t o g e t e u e r y b o d y h u n n i n g t o g e t h e r a n d g e t t i n g a g e n e r a l f e e l " i n g '

RW: In the dense d issonance wh ich is p i led up in bar 90 a t the end o f the soprano sax B '

sec t ion th rough s t re t to en t rances o f tha t one mot ive , d id you f i rs t dec ide the make-up

of the ar r i va l chord or d id the mot ives tead you in to tha t chord?

B B : T h e y L e d n e . T h e n u s i c u s u a l l y l e a d s n e I h a u e u e r y l i t t l " e l u c k t e a d i n g m u s L c '

RW: What comment do you have about my concept of the d i f ference between densi ty and inten-

s i t y ?

B B : I a g r e e , b e c a u s e t h e n i n o r 2 n c J c a n b e t h e m o s t i n t e n s e t h i n g o r t h e d e n s i t y c a n ' d e -

p e n d i n g o n t h e s i t u a t i o n . I L i k e w h a t y o u s a y a b o u t n o t u s i n g f o r n u l a u o i c i n g s ' t h a t

eue ry th ing was p i cked to keep w i th in a cons i s te ru t t ens ion . So 1 used as many o r as f ew

no tes as I neec lec l t o sound r i gh t t o me to heep the tens ion go ing ' I wqn ted to keep the

s i t u a t l o n a g g r a u a t e d . u n t i l t h e L a s t f o u r b a r s ( b a r 6 1 ) i n t h a t R a u e l ' l i k e t r i a d s i t u a -

t L o n .

R14l: Are there any points you want to add to my comments about your shaking us up with simul-

t aneous na tu ra l and sha rP 9 ths?

B B : I w o u l d e n c o u r a g e p e o p l e t o t a k e c h a n c e s . I h e a r s o n u c h s u c c e s s f u l n e t h o d w r i t i n g ,

e s p e c i a L t y i n t h o s e r o c k - a n d - r o l t j a z z w r i t e r s . M o s t o f t h e w r i t i n g i s g e a r e d a r o u n d

tha t , and they ' re ac lep t a t w r i t i ng s i ng le -no te cho rds i ns tea 'd o f f i " nd ing o rches t ra l t ex -

tu res . Because the rock -and - ro l l r hy thn a l l ows no th ing de l i ca te t o happen i n t he Lower

a r u c l i n n e r u o i c e s , e u e r y t h i n g i s u e r y p r i n a t i u e . I ' n t r y i n g t o e n c o u r a g e t h e n t o g e t

away f ron s i t ua t i ons L ihe th i t so t h i y can hea r eue ry uo i ce ' no t t o w r i t e rock -and - ro l l

b a 1 l a c t s b e c a u s e i t k i l l s e u e r y p r e m i s e o f L i n e s a n d d e L i c a c y a n d s h a d i n g ' B u t i f y o u

c o m p o s e w t t h o u t r h y t h n s e c t i o n o r w i t h j u s t p e r c u s s i o n a n d b a s s , y o u c a n h e e p t h e n u s i c

s e n s e o l t t . B e c a u s e i f t h e y k e e p w r i t i n g f o r s i t u a t i o n s , t h e y w o n ' t L e a r n a n y t h i n g '

T h e y ' L I h e e p w r i t i n g a s i n , L * ^ " r r i a | u r i t i n g ' - y o u k e e p w r i t i n g w h a t y o u h a u e t o a n d

the s i t ua t i ' on a l roy i d i c ta tes Less than you can do . So i / t hey don ' t pu t t hense lues i n

p o s i t i o n s t o w r i t e e x p e r i n e n t a l l y , t h e y w o n ' t L e a r n h o w t o d o t h i n g s . T h e y w o n ' t f i n d

c h o i c e s , t h e y w o n ' t m a k e n i s t a k e s w h i c h t h e y h a u e t o n a k e ' I d o n ' t h e a r n a n y m i s t a h e s

i n t h e w r i t i n g o f y o u n g p e o p l e t o d a y ! I t ' s u e r y d i s c o u r a g i n g !

I t , s f u n n y , b u t r e a c l i n g y o u r a n a l y s i s o f u h a t I ' L t e u r i t t e n , I ' d g o b a c k a n d c h a n g e

a b o u t e u e r t t h i n g I ' u e d o n e , i f I h a d t i n e '

RW: Why? I wasn't anaLYzing faul ts.

1 8 0

: f :

r u l t s , n i s t a k e s i n o r c h e s t r a t i o n , h a r m o n i c s t r u c t u r e , b u t a L I t h a t i s w o r ks o I ' n j u s t t r y i n g t o n a k e t h e n e x t p i e c e b e t t e r .

.d rC Goodbye, ' bar 232, the s imu l , taneous na tura l and sharp Sths in the major:ade me hear inverted augmented major ?th chords. How do you think of them?

t t e n t o g e t t h e t h r i l l i n g t e x t u r e o f t h e d o u b l e m i n o r 2 n d s .s ound .

I t g i u e s a u e r y

T - : s : L o v e S o n g , '

: , : : : - : - " , - : ha t you cou ldi s t h e r e a n y k i n d o f g u i d i n g p r i n c i p l e o n c h o o s i n g s u b s t i t u t eg i v e ?

t o l d n e a s t o r y a b o u t D e b u s s y s i t t i n g f o r d a y s p L o y i r t p l t to f t he t h i ngs abou t t ha t cho rd t ha t he won ted t c t heo r o r t t li t . U n t i l i t b e c o n e s a p a r t o f y o u .

r ' . ' ' . ' - e r ) t h i n g w o r h e d o n a p l a n e . T h i n g s e i t h e r s e e m t o p r e s s d o w n o r w a n t t o m o u e- ; I t : t e d t o l i s t e n t o w h e r e t h i n g s w a n t e d t o g o . A g a i n , t h e i d e a o f a u o i d i n g f o r -

: ' - ' - - t L n g w a s t r u e i n ' F i r s t L o u e S o n g ' t o o . , { o f e s w e r e p i c k e d f r o n a c h o r d n a m e t o

- - ' ' = ' z : t a t n e f f e c t s h a p p e n , T h e s a m e c h o r d u o u l d a p p e a r t w o o r t h r e e t i n e s a n d h a u e- ' ' . - . - . n t n o t e s i n i t o r b e p o s i t i o n e d i n d i f f e r e n t u a y s t o s o u n d d i f f e r e n t L y .

' - {3C B lues , ' what mean ing do the d issonant in te rva ls in the theme have to you?

t ' : ' . I l e a r o m a j o r 7 t h , i t s o u n d s l i h e i f ' s p r e s s i n g d o w n a n d a m i n o r 9 t h s e e n s t o b e ,' r : : : : l i r s , s o t h e y h a u e s h a p e s f o r m e a n d I h e e p t h e s h a p e s I l i k e . f u o r t t e r l i t t o

- - : r ) - e r L a i b e c a u s e I l i h e s e r i a l t h i n g s . A n d t h o s e a r e t h e n o t e s t h a t s o u n t l e d b e s t

r - - - : - : i n a l a d v i c e c a n y o u g i v e a w r i t e r w h o h a s b e e n m o t i v a t e d e n o u g h t o s t u d y t h i s- - : . : a n d y o u r w r i t i n g ?

- : ' . ' - ' ' b ' i t u o u l d b e u e r y n i c e i f p e o p l e w o u l d s p e n d a l o t o f t i n e p l a y i n g o t t h e p i a n o- : - : - : . l e n i n g t o u h a t i t r e a l l y s o u n d s L i h e , r a t h e r t h a n j u s t g e t t t n g t h r o t L g h s i t u a t i o n s. : - ' i e r t o f i n i s h a p i e c e . I t h i n k t h e t i n e s p e n t r e f l e c t i n g i s t h e t i n e t h o t c o t u t t s

- - , l 1 n f t

- : - . e ' . b e r t h a t B i l L F i n n e g a n- " , ' : u n t i L h e u n d e r s t o o d a l l

' - - . e : a n t e d t o o r c h e s t r a t e

- : ' , ! ' - k e l i s t e n i n g t o C h a r l i e P a r h e r o n a r e c o r d a n d L e a r n i n g a s o l o , w h t r : h c o u l r l t a h t :i - ' r n I e o f w e e h s f o r a d u n n y l i k e n e w h e n I u a s a k i ( ) . O r s e e i n g i t i n o l t o o k o n d- ' - : : , " A h a ,

t h e r e i t i s , ' / ' I L p l a y i t t h r o u g h . " A n c l y o u l e a r n n o t h i n g . B t t t t I y o u: : . : - - - t - e n c e i t , i t b e c o n e s p a r t o f y o u r L a n g u a g e . T h e k i d s n e e d t o k n o w t h o t .

7 8 l

summarYA f t e r s t u d y i n g t h e e i g h t s c o r e s o f t h e s e f i n e w r i t e r s , c e r t a i n p o i n t s a b o u t t h e c r a f l

o f a r r a n g i n g c a n b e m a d e . T h e t h r e e w r i t e r s d i f f e r i n c e r t a j - n c l e a r w a y s b u t , i n c o m m o nwi th many f ine wr i te rs , they share an amaz ing number o f qua l i t ies :

1 . E a c h w r i t e r g i v e s e a c h c h a r t a f o c u s , a c h a r a c t e r , a s t o r y w h i c h h a s a b e g i . n n i n g ,a m i d d l e , a n d a n e n d .

2 . Each has a cons i s tency o f ha rmon ic and vo i c i ng p rocedu res , whe the r accomp l i shed con -sc ious l y o r subconsc ious l y .

3 . E a c h s c o r e r e l i e s m o s t o f a l 1 o n g o o d , i d i o m a t i c t u n e f u l n e s s b e f o r e t a k i n g i n t o a c -

c o u n t t h e a d d l t i o n a l e l e m e n t s o f h a r m o n y , c o 1 o r , t e x t u r e , a n d f o r m .

4 . Rhy thm ic l nven t i on i s o f p r imary impor tance .

5 . R e - u s e o f t h e m a t e r j . a l i s c o n s t a n t l y s e e n . I t i s , o f c o u r s e , a n e f f i c l - e n t w a 1 ' o fw o r k i n g , b u t b e y o n d t h a t i t p r o v i d e s a c l a s s y k i n d o f u n i t y .

6 . H a r m o n y , w h e t h e r s i m p l e o r c o m p l e x , i s u s e d t o s e r v e t h e n e e d s o f t h e c h a r t .

7 . I n a ] L c a s e s , t h e b a l a n c e i n t h e u s e o f t h e v a r i a b l e e l e m e n t s i s c o n t r o l ] e d s o t h a tsome e lemen ts rema in cons tan t wh i l e t he f ocus o f a t t en t i on i s d i rec ted to o the r e le -m e n t s . F o r e x a m p l e , i n B a s i e - S t r a i g h t A h e a d , N e s t i c o k e e p s t h e f o r m , v o i c i n g s ,

c o l o r , a n d h a r m o n y c o n s t a n t a n d p r e d i c t a b l e t o h i g h l i g h t t h e g r o o v e , b u t h e u s e s

s u b t l e v a r i a t i o n s o f r h y t h m , m e l o d y , d y n a m i c s a n d k e y m o d u l a t i o n .

I n ' [ h r e e A n d O n e , T h a d h o l d s t h e f o r m , t h e b a s i c c h o r d c h a n g e s , a n d t o n a ] i t y c o n -

s t a n t w h i l e h i g h l i g h t i n e c o l o r a n d t e x t u r e c h a n g e s b e t w e e n t h e t r i o , f u l l e n s e m b l e

and sax so l i . by us ing sub t i t u te cho rds and rhy thm ic va r i a t i ons .

I n He I Io A ruJ Gooc lbye , B rookmeyer uses a s imp le t une , unchang ing vo i c i ngs , on l y one

k e y c h a n g e , a n d s i m p l e b a s i c c h o r d s w h i l e t h e f o r m , c o l o r , a n d t e x t u r e c h a n g e f r o m

d e n s e t o t r a n s p a r e n t t e x t u r e s t o s u r p r i s e u s .

8 . H a r m o n i e s a r e j u s t l f l e d a n d v o i c e - l e a d i n g ( a s a n i m p o r t a n t a s p e c t o f t u n e f u l n e s s )

1 s n e v e r f o r e o t t e n .

9 . Good reg i s te rs and i d i oma t i c w r i t i ng f o r t he i ns t rumen ts have been po in ted ou t con -

t i nua l l y , as has the p r i nc ip le o f mak ing each sec t i on sound ha rmon ica l l y good when

h e a r d b y i t s e l f .

The d j . f f e rences among the th ree wr i t e r s seem sma l l i n compar i son w i th t he i r s im i l a r i t i es :

1. There are d j , f fe rences in harmon j .c r i chness , bo th ver t i ca l l y and in the use o f pass-

ing and subs t i tu te chords . The scope o f such d i f fe rences goes f rom the de l ibera teL l -s i m p l e 4 - p a r t , n o n - d i s s o n a n t s t r u c t u r e s o f N e s t i c o t o t h e r i c h , c o m p l e x " s e a s o n e d

wi th d issonant g r j .nds" wr i - t ing o f Thad to the po in ted d issonances used by BrookmeJ 'e ras he a l te rna tes be tween tens ion and re lease.

1 8 2

; = : : - : ; f o r m , t h e- . : , : : s f o r t h e^ - : k : d i n t o a n y

degree o f depar tu re f rom normal 32-bar song and head-and-var ia -o v e r a l l c h a r t i s d i f f e r e n t f o r e a c h w r i t e r . B u t n o n e o f t h e m

r ig id fo rmula fo r e i ther the song fo rm or the ar rangement fo rm.

. . . : _ s ! : c r , a s p i r l n g w r i t e r s s h o u l d n o t e. - : - - : - ^ : e s s a r e p r e d o m i n a n t e n o u g h i n a l l

: : : : : -a : : .9 than vo ic ings ! Not ice one th ing- : : r t : h e i r s e c r e t s , y o u d i s c o v e r h o w m u c h

: i : . l h a t ' s g o o d w r i t i n g !

t h a t t h e e l e m e n t s o f f o c u s , b a l a n c e , a n dt h r e e w r l t e r s t o i n d i c a t e t h a t t h e r e i s

- - as you l i s t ,en to these char ts over andmore there is i .n each one to learn and to

1 8 3

t l t . : a l t e r e d ; C 7 A L T - 9 7f l a t 5 ths and 9 ths ; a C

c7

glossaryA L T E R E D - a d o m i n a n t ? t h t y p e c h o r d w h i c ha l t e r e d s c a l e i n c l u d e s t h e n o t e s o f t h e C 7

ALT T

i nc ludes sharp andA L T c h o r d .

a t o n a l : a n a b s e n c e o f t o n a l c e n t e r s .

b a s i c c h o r a l e u o i c i n g ( o r t r u e - b o s s o r b a s i c e n s e m b L e u o i c i n g ) : t h e v o i c i n g i n w h i c h t h eind j ,v idua l par ts move independent ly o f the lead l ine , ba l -anc ing the somet i rnes conf l i c t -requ i rements o f good vo ice lead ing and good ver t i ca l sonor i ty . No s t r i c t ru les o f thespac ing be tween par ts app ly , bu t the lower ln te rva ls a re genera l l y la rger and the uppero n e s s m a l l e r ( s e e B a s i e - S t r a i s h t A h e a d a n a l y s i s o n p a g e 1 0 ) .

b L o c k u o i c i n g : a t h i c k e n e d - l i n e v o i c i n g o f c l o s e p o s i t i o n e d 4 - p a r t h a r m o n y .

b L u e n o t e s : t h e l o w e r e d 3 r d s , 5 t h s a n d T t h s o f m a j o r s c a l e s .

bor rowed chord : a chord bor rowed f rom a para l le l mode to g ive a chord qua l i t y (ma jor , m inor ,

h a l f - d i m i n i s h e d , e t c . ) d i f f e r e n t f r o m t h e n o r m a l c h o r d b u i L t o n t h a t s c a l e t o n e . F o r

example , DC7 in the key o f C major l s bor rowed f rom the para1 le l mode o f C minor , where

the I I7 chord is a ha l f -d imin i -shed chord .

c e L I : a s h o r t , i n t e r v a l l i c a l l y c o n s t a n t m o t i v e .

c l o s e u o i c i n g :a n d 4 t h s .

n o n - s p r e a d v e r t i c a l s t r u c t u r e s , u s u a l l y s t a c k e d 3 r d s w i t h o c c a s i o n a l 2 n d s

gto 6b-t'C'sus au(Îll'

c L o s E v o t c t N 6 S

c l u s t e r s . ' v e r t i c a l s t r u c t u r e s m o s t l y o f s t a c k e d 2 n d s .

comp: an abbreviated jazz term meaning t to accompany," such accompaniment consist i .ng of ar-

t i cu la ted rhy thm ic cho rds usua l l y p layed by p iano o r gu i t a r .

c o n c e r t e d e n s e n b l e :

thms.

a passage in wh ich the horns p lay a harmon ized melody in ident ica l rh l

C A L T E ! ? E D s c A L s

1 8 4

t . :

- - i - : : : , : : - l

^ - : >

: ] : S

s o u n d t h l c k n e s s p r o d u c e d b y t h e q u a n t i t y o f d i f f e r e n t t o n e s w i t h i n

d j .a ton ic (sca la r ) para l le l i sm (p lan ing) occurs in concer ted harmony" -o ices move s tepwise in the appropr ia te sca le in the same d i rec t ion

s tepwise mot ion . Th is d i f fe rs f rom t rue p lan ing (exac t para l le l i sm)do no t move ident icaL in te rva ls because aL l sca tar in te rva ls a re no t

s lo :e s1 'mbo l fo r 'oc tava bassa" (oc tave lower ) ; no t p roper ly used in par ts .

; a tex tu re in wh ich a l l horns par t i c ipa te , most ly in concer ted rhy thmic:

p lan ing ; each under vo ice mov ing exac t ly the same in te rva l as the lead

::- : ' jpper chord tones beyond the seventh.

' - - : : :ns . ' the th ickened-1 ine harmon iza t ion o f a me lody in wh ich the four par ts- : : : : a n o c t a v e . T h i s i s t h e b a s i s f o r 4 - p a r t e n s e m b l e s i n w h i c h t h e s e b a s i c: : : . s a re d is t r ibu ted in c losed or open vo ic ing to o ther j .ns t ruments in an .y oc-:== [E f ln Bos ie - S t ra igh t Ahead) .

- : : ' . ' d i s s o n a n c e s b e t w e e n t w o v o i c e s , u s u a l , l y m i n o r 2 n d s o r m i n o r g t h s .

- : : upon wh lch an ar rangement i s bu i l t .

* : n d i n s t r u m e n t s .

' ; , :a1 i t1 ' o f psycho-acous t ica l s t rength as cont ras ted w i th dens i ty , the qua l i t y: . - . : > 5 .

l l l f e r e n t v e r t i c a l o r d e r i n g s o f a c h o r d ' s t o n e s w i t h o u t c h a n g i n g v o i c i n g .

c5

: i e f m e l o d i c f i g u r e o r

: r 'e r t i ca l s t ruc tu reso f a 4 t h o r l a r g e r .

typ ica l l y two or more in -

cg

+v o t c t N G s

t N v t R S t o N s

f ragment o f a theme.

spread to a vo ic ing Lnc lud ing

b/qF

T

O P € N

1 8 5

ou ts ide : j azz t e rm inoJ -ogy fo r t ones d i s tan t f r om the bas i c cho rd , o r f o r cho rds more d i s -

t an t f r om a tona l i t y o r f r om g i ven cho rd changes .

p a r a l l e L n o t i o n : w h e n a I 1 v o i c e s m o v e t h e s a m e d i r e c t i o n a s t h e l e a d l i n e .

passing chord: a chord harmonj-z ing a stepwise melody tone d i f ferent ly than the predominant

su r round ing ha rmony ( see Th ree AndOne ana l ys i s on page 54 ) . The rhy thm sec t i on pa r t s

do no t i nc lude symbo ls f o r pass ing cho rds un less t hey sound fo r one bea t o r J ,onge r .

p e d a l ( p e d a l p o i r u t ) :

cho rd changes .

a cont inu ing bass (usua l ly ton ic o r dominant p i tch) th rough severa l

p L a n i n g : e x a c t p a r a l l e l i s n r ; e a c h v o i c e m o v e s t h e e x a c t i n t e r v a l i n t h e s a m e d i r e c t i o n a s

t h e l e a d l i n e .

p o i n t i l L i s t i c : p e r t a i n i n g t o a t e x t u r e i n w h i c h e a c h s u c c e e d j . n g t o n e i s a r t i c u l a t e d b y a

d i f fe ren t ins t rumenta l - co lo r .

pyran td : a p i te -up o f ind iv idua l tones , one en ter j .ng a f te r the o ther and each sus ta in ing

the tone.

r e c o p . ' r e c a p i t u l a t i o n ; r e p e t i t i o n .

seconrlary I IU|T or 1167: the minor ?th or f?th whose root is a perfect 4th below the secon-

dary V7 to wh ich i t reso l ,ves .

Ana r c 1 F

S ECON OA R,Y S TCON OA RYq : I f M r 7 ( b s ) g r ( I n a r

F ,1 I I f - , g '

TRAN S I TNT

I

seconr la ry V / : a V7 chord whose roo t i s a per fec t 4 th be low any t rans ien t ton ic .

s e r i a l n u s i c : m u s i c c o n s t r u c t e d f r o m p r e - o r d e r e d s e q u e n c e s o f p i t c h e s ( t o n e r o w s o r t o n e

s e t s ) , r h y t h m s , o r o t h e r p a r a m e t e r s .

shout . . a concer ted ensemble passage wr i t ten to ach ieve a c l imact ic , shout ing resu l t .

s t r e t t o : s u c c e s s i v e e n t r a n c e s o f a m o t i v e b e f o r e t h e p r e c e d i n g o n e s h a v e b e e n c o m p l e t e d .

subs f i tu te chords . . chords wh ich reharmon ize a melody or a g iven se t o f chord changes in a

more comple te way than do pass ing chords , wh ich on ly connect two sur round ing chords .

The rhy thm par ts need these chord symbols to avo id a harmon ic c lash .

so I i . ' a harmon i zed sec t iona l f ea ture .

Supersax uo ic ing : 4 -par t b lock harmon iza t ion w i th Svb-doub led l -ead.

1 8 6

Cr' z(lr)

' . , r r ' : j a n u n r e s o l v e d d i s s o n a n c e ( t r a d i t l o n a l l y h e l d' ' - 2 . e r c l u s i v e l y a 4 t h i n a c h o r d i n w h i c h n o 3 r d i s. i : : i s no t a suspens ion , bu t i s an l1 th .

. : ' . . , ' Lq rnony : ha rmony tha t i s no t i den t i f i ab le as an- - s - ^ : s f r om s t rong vo j - ce l ead ing . I n rhy thm sec t i on: - : : : e s r a t h e r t h a n a g i v e n c h o r d s y m b o l .

Dr'r ,z( t r ;

ove r f r om a p reced ing cho rd ) ; i n

o resen t . Hence , a m ino r ? th w i t h

i d i o m a L i c j a z z c h o r d , b u L w h i c h

oa r t s . t h i s shou lC be no ta ted i n

?F-frrr t ' (n)

g

. - . ' : . t n e : h a r m o n i z e d l i n e i n w h i c h a l 1 o f t h e p a r t s m o v e i n p r e r i o m i n a n t l . y p a r a l l e l- - - - ' : * i t h t h e l e a d l i n e .

a p r e - o r d e r e d s e q u e n c e o f t o n e s , u s u a l l y t e s s t h a n 1 2 .

t h e p r o c e s s o f d e s i g n a t i n g a n y c h o r d ( e x c e p t a d i m i n l s h e d 7 t h ) a n y w h e r e i nas a t r ans ien t t on i c t oward wh i - ch subs t i t u te cho r r l s mav cadence ( see thc ana -Th ree And One on page 55 ) .

Q a A + ^ n t n t ; n l t a n

: ' . t L t t i on : t he V7 t ype cho rd whose roo t i s a t r i t one away f rom the no rmaL V7 i n- I r e s o l u t i o n . . H e n c e , a f f f T c h o r d , w h i c h i s r e f e r r e d t o a s a n u p p c r c h r o m a t i c :

: ho rd i n t h i s book ( see Th ree And One ana l ys i s on page 5? ) .

L ' s e r i a I m u s i c w h i c h p r e - o r d e r s

: r c s u b s t i t u t e . ' a V 7 o r m a j o r ? t- t h e f o l l o w i n g t o n i c o r t r a n s i e n t^ ' ; s i s o n o a e e 5 ? ) .

: - - : r c s u b s f i t u t e . ' a V 7 o r m a i o r ? t h: - t h e f o l l o w i n g t o n i c o r t r a n s i e n t' - ' . s i s o n D a e e 5 ? ) -

i 2 d i f f e r e n t p i t c h e - ' s .

t ype cho rd wh l ch r r - - so l ves f r om at o n i c ; a l t t l o r I f I r q a T c h o r r l ( s c e r

h a l f - s t e p'l ' l tr

e e: ,IrtL!

wh i ch ma l '

moves s tepw ise o r reso l r , ' es ac t i ve cho rd

i n c y c l e s o f f i f t h s , l e a d i n g t o n e s u p -

. . -s i s on page 5 ?) .

' r e p e r p e d a l p o i n t ) : a t o n e , u s u a l l y o f t o n i c o r d o m i n a n t q u a l i . r y ,rn an upper vo ice th rough severa l chord changes.

: . ' r 'o ice motion in which a harmony part: - normal d i rec t ions (? ths down to 3 rds^ ' : e s n o t e s d o w n w a r d ) .

. - . i a 1 ' s u s e d h e r e t o m e a n t h e v e r t i c a l s p a c i n g o fm i x e s o f c o l o r s .- : : l o r c h c s t r a t i o n a l

1 8 7

t o n e s . I n o t h e r c o n t e x t s . i t

most-used chord typesIn these examples, the basic chord for each type is shown f i rst , fol lowed by versions of the

chord type as enr iched w i th ex tens ions and a l te ra t ions . Remember tha t in chord symbols in

th is contex t the sound o f the chord , no t i t s spe l l ing , de termines i t s symbol . Hence enhar -mon ic spe l l ings do no t a l te r the chord spe l l ings .

1. MAJOR

c?q crura'c,waq c(noo 9) c-atl(f t t l cb/q(*1) q -ora(*rr)o

+M O R E

coMwroNSPACING

1a. TRIAD SUSPENS/ON

lb. MAJOR TRIAD, FLAT FIFTH

1c. AUGTIENTED TRIAD, MAJOR SEVENTH

( ce *o t\ R A I S E D ,nr'*t)

6 * (r'u t)C

* (r"l I e)

1 8 8

i r - - - :

E- , E.r ,5 Erqf /q

E ^ e r 7 E r q r Q E p r , l l t rq r 13

fr

-- I YI \ I-i.ryfD -:-tt C\'?H

r M r N o R g r \I l , M A J O e Z )

/ e e a o ,( R A , s e e

g- , z(bs) Em ,e(bs) E r"r r rr (bs) Er_r r rs (bs) Erw,'(Bl) Emr " (gg)fr

( n e n o : g M t N o R 9 , r t A T s )

, f - - \ : - ' - - . _ . f i f \ fH

D 7 p a p z(re)o

p ra(#tr) D " (bq ) pz(bs)

q i l t h ALwAys o rv r tT rdo , s th o r r c rv \OM r TT€O u r r DoMIN ANT r3 +h )

g e (bs) D'(f3)b+

ge (* r t ) grt(bt) D'.(f l ) pz(*e)o

1 8 9

5, AUGMENTED

F+ F + 7 F + a p-* z (be) ,* r(*e)

( c e r o ,

6, DIMINISHED SEVENTH

E O

F ' g A O :

S ince Eo o l ready neans d in in t shed 7 th ,a d i n i n i s h e d t r i a d . F o r t u n a t e l y i t i s

NOT AT ING SUSP''NSTO,ryS

CTsrs

E D r h l r N l s H e o , a o o r * o f ;

i t i s c u n b e r s o n e t o s y n b o l i z e

u s e d e x t r e m e L y r a r e l y .

a l loR t-

CIIORDS WITH FOREIGN BASS

q t

F+a( f t ) Fz

lceao,\ AL r t

;F 7

R E D

EorcrAo Eo(ve,)Eof"';0f ; id r =iJ go (sus e)

e

Gra..77oR ,/C

POLYCHORDS

DC

Eb 7ev %au f,a6 + a

C Q s r s

D*-,Er-r l

t 9 0

bibliographyfor further study

itEI ffi{,f.,f-- \:-

I r y - r l r u r r l : ] : : : : - . I I O D E R \ H A R M O N I C T E C H N I Q U E - V O L U M E S I & I L K e n d o r M u s i c ,I ' : _ : r a : f : T . l 9 6 J

l r r ! ' r : 1 s I - - - - r r i E c 0 \ T E M P 0 R A R Y J 4 z Z P I A N I S T . G a m t p r e s s , J a m e s t o w n , R I , t g ? g

t u r " * : _ i L } - . : \ j E J A Z Z L A N G U A G E _ . S t u d i o p / R , L e b a n o n , I N , 1 9 g 0

q * - : { r . l \ ,

1 r " t : : I ' ; - 1 . - { R R . { i i G I N G A N D C O M P O S I t l c F O R T H E S M A L L E N S E M B L E . D o w n b e a t W o r k -: : - ! P : : i i c a t i o n s , 1 9 ? 0

l ' - ; r - : - : l : : ' i o : r . I I O D E R N A R R A N G I N G T E C H N I Q U E . K e n d o r M u s i c , D e l - e v a n , N y , 1 9 6 5

I r - - - - : i ' - = : = i l . T H E C O N T E M P O R A R Y A R R A N G E R - C ! N I E q , q E & . C r i t e r i o n M u s i c C o r p . ,\ = r : : , : k . \ y , l g b 4

' : : = - : , : : i . . { R R A N G I N G c o N C E p r s . D i c k G r o v e p u b l i c a t i o n s , s t u d i o c i t y , c A ,- : l :

: . . : : i r J o n . T H E C O N T E M P 0 R A R Y A R R A N G E R . A t f r e d p u b t i s h i n g c o . , s h e r m a n o a k s ,I n - -_ _ 1 , j , y r C

' * . : ' = : - K e n t . T H E T E C H N I Q U E 0 F O R C H E S T R A T I O N . P r e n t l c e H a 1 I , E n g l e w o o d C l i f f s ,\ . T l q i t

1 9 I

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