Definition:

. Lead plus three harmony notes below.' All four voices within an octave.. Four diflerent pitches.r One note from each category (root, 7th, 5th, 3rd) or its available

substitute.. Adiacent intervals include 2nds, 3rds and sometimes 4ths.

4Way Close Double Lead

Essentially the same technique as 4 Way Close with the addition of a duplicate of the lead voiceplaced an octave lower. This 5-part technique is common when writing for saxophone section (A,A, T, T, B). The recording group "Super Sax" used this technique extensively. The double leadvoice is the lowest and 5th voice in is technique.

Guidelines for Effective 4 Way Close Writing. Avoid the interval of amajor 2nd adjacent to the lead voice on note values longer than. a quarter note. This harmonic rub partially obscures the lead line. The rub becomes

more apparent the higher it's written.. I{ever write the interval of a minor 2nd against the lead. It obscures the lead line'

H arm oni zati a n Te c hni que s :4 Wry Close

A working knowledge of chorcl symbois is essential to understand the material covered in this andsubsequent chapters. For the purposes of this book, the author describes the root,7th,5th and3rd of a chord as "note categories" from which a wide variety of substitute voicings will bederived.

4 Wav Close

A fundamental yet effective four-part harmonization technique that produces a tight mobilesound and works well with fast or slow passages. 4 Way Close can be utized when writing lorany cornbination of saxophones, woodwinds, trumpets and trombones. This technique and itsgoverning rules are the basis for many of the techniques that will follow.

Chapter 10: 4 WaY Close 83

" Avoic{ cluster voicings (voicings containing tlvo or more groups of adjacenl

means of harmonizingin 4 Wa,v Close style

Solution for the .bolr. problems is to use Avaiiable Substitutions as ii-rtc ir :r-:

Available Tensio`:` Clart, (pg. 85, discussed next) and/or Drop ? tecil-- --"`(clescribed in Chapter Eleven, pg BB)

,,Tlre 4Way Close RectangLe,, This diagram helps visualize the stacked r-oicing techtli:i-t=

of 4 Wav Clse. Use this diagram applying the three steps belorv.

[ffirI ::l I I

1. Determine the category of the lead (melody)voice as one of the primary "notecategories,,, .ooq-[6,h, 3rd o, u, available substitution (see Availabtre TensionChart) [Ex. 10-1a and 10-1b].

cATtqoets

ffirEx. l0-1n

7

Ex.

n9It

ffrr

ffi,I 7a)

7 Sr`` CnCogY Aoo o``s xotg rcoua

EASII CA|Eq9XI DE.LUW

2. After determining thecategories below using3. l0-4, 10-51.

category of the me1od1 orprimary notes or substitutions

lead note, fillper guidelines

in the other threebelor,v [Ex. 10-2, 10-

84 lazz Ananging Techniques

3. If correct, the voicing will be less than an octave from the highest to the lor.t'est note andcontain ali four "category notes" or available substitutions with no duplication.

Cate With Listed SubstitutionsChord T

Exarnptres: The substitution for the 5th of a miTth chord is the 11th. A substitution for the root

of a dom7th chord is any of the following: 9, b9 or #9, d.p.rrding on the chord function and the

presence of other tensions.

Ex. t0-3

11 w/b5 (no rt)

g, b9, #9 #Llr lSrblS 1l(sus a)

Chapter 10: 4 WaY Close 85

qrtdcJ:!dqCeCeete

Itt!i!tt{iItttI{III

Guidelines for Effective Voicings

The characteristic sound of a voicing is directly a result of the interztalic relationship

between all the pitches in the voicing. There are four intervalic groups.

1. Minor 2nd intervals and major 7th intervals produce the most tense, rich sound2. Major and minor 3rds and 6ths and perfect 5ths are the least tense, the most mellow

sounding.

3. b7ths, major 2nds and augmented 4ths (bsths) exhibit a level of tension between the firsttwo groups.

+. The perfect 4th interval produces a unique soundmellowness with a strong resonating character

that exhibits properties of tension and

When striving for the rnost tense voicing possible, select substitutions or cleordtones that will produce either rninor 2nds or rnajor 7th intervals within the voicing.px. 10-6 to 10-111

lu, zn, b(n)

jLr blf

h*_r4A1

3rd

9(rt) J- ^, ;li;I ur 2ro

-

4il rt ,b h!-

ult1 b15

erceptio" vgii"g:1 1th lead subs for b5 but b5 is

necessary to distinguish the b5 sound - root catagoryis omitted (voiced in Drop 2 to avoid the hlgb rqqig-I2"d trb)-

` Ia,;t)

Available Tensions on Dirninished Chords

On diminished chords, any note a whole step above a chorcl tone is an avatlable tension By

combining two diminished chords (one built a whole step higher), an auxiliary diminished scale is

created., t is also known as the "whole/half scale, because the interva.ls in the scale arew/h/w/hetc.). Tensions are most effective as lead notes on diminished chords. [Ex. 10-12, 10-

13,10-141

Ex. 10-f2

^o\-

Ex. t0-6c13

Ex. 10-7

0ure

Ex. t0-8tutl

AUXTLAcy O$t.6cAll.

Ex. 10-9q``\b5

Ex. 10-10gt

Ex. 10-11

tLz

Ex. f0-13

ot

Ex. 10-14

gbolENSION

86q I azz Arranging Techniques

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gbu,Tbst

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grtln

L4 Auee ts q7&ttt LbJ #"# b.r\ a {r\ && 5., tJ I :ti'-& r {

n Ebt 18 }uln le t 20 gb7Ln,t

I ttw) \v)4.FS 5

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Chapter 10: 4 Way Close 87

Chapter ElevenH arm o ni zati on Te c hni q ue s :Drop 2, 3, 2 and 4

Drop 2 Techruoue

This technique is derived from 4 lVay Close. Drop 2 Technique produces a slighth-more openvoicing with a fuller sound. This technique can be slightly less mobile than 4 \\-ar Closedepending upon the range of the lead voice and the corresponding instrumental registers.I-aruer is slower!

Definition:

ttCettCCttCCCCCCCtt

Ex. 11-1lual

Ex. LL-ZCur9

Ex. tL-3a42

x. LL-4gutlhs

x. Ll-

tI oroq?o 12No .,ot

Drop 2 Double Lead

Lead voice (melody) is doubled one octave lower, resulting in a 5 note voicing.In Drop 2, the doubied melody is the 4t voice from the top.The 2nd voice is dropped one octave to form the Drop 2 technique and becomesthe 5th and lowest voice [Er. 11-6, 11-7].

tCCcqtt!tC

ttI

1. Lead plus 3 harmony note s below.2. Four different pitches.3. One note from each category: Rt. 7, 5, 3.4. Drop 2 is derived from 4\Yay Close by lowering the 2nd voice from the top, one octave

[Ex. l1-l].5. lrlote spacing is more open with adjacent intervals of 2nds, 3rds, 4ths and 5ths [Ex. 11-2

through 11-51.

88 J azzArranging Techniques

Ex. 11- seaP 2 d- {aowa, *n) Ex. Ll-1 oEop 2 otc?*b 9u,e

7 ,bLJ 3n -fl ,a h*n 0L b3

r sc{ SXAMPLE ruz 0L uango I ul 210 u, lN rl{E volcnq

Drop 3 is similar to Drop 2, except the 3rd voice is lowered one octave instead of the 2nd. Thistechnique produces a semi-open voicing similar to Drop 2 that can be eflective with certaincombinations of chord symbol and lead note px. 1 1-8, I 1-9].

Ex. 11-8 Oeop 3 Ex. 11-9 0sop 3

c1b7

l'v5

v tVJbq (ft)

Drop 2 and 4 is similar to Drop 2, except the 2nd and 4th voice are both lowered one octave.This iechnique produces a very open voicing that is fuller and less mobile than Drop 2 or Drop3. When including double lead, it is well suited for 5 saxophones playrng-pa-ds or slow movingmelodies [8". 1 1- 10] . In Drop 2 and 4 double lead, the doubled lead voice is placed 3rd voicefrom the top'

Ex. 11-10 Onop 2/4 Ol

0rle Eu,sbs 1tttc13

-7 \'-t*y;;,',, D L'h-.'-''i,!r|i ": n L:-,-

T t -t-.J rt'bc't. j, t

Note: By remembering numerical equivalents [rt h5 fib7 3) of the voicing formuias the voicingscan be easily transposed to any key.

Assignrnent #B prodes voicing pracce in all the drop techniques. IJse substitutions toenhance the voicings

Chapter 11: Drop 2,3,2 arrd 4 89

usE cr{ofo fof.lEs ANo su6flfufloilsfo coMPLEfE fllE volclNq. lxctuogNUME|C EOUIVALEN rce 'AcH volclNq.

(Ol -- oousue w,n)

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NAME

E7

II

7 .v fil97aa

rt

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-

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Ta

gu,1st w,1 gbr,1st

(

Wo?31

0e

L2l110

'7 7v

9

Woil-u qtut Aur11AuF

tbL5L4

rtt&-

aa

90 J uru Arranging Techniques

e1The b9 Rule, Lou, Interual Limits,

AQjacent 2nds Separated Rule

Problerns with the bg Interval

Chapter 11 presented intervals and how they affect the sound of voicings. In semi-open and openr"oicings, the one interval to be cautious of is the bgtt . Tfre bg interval is effective when createclby combining a low root with a bgth tension above, as in a dominant 7(bg) chord tc7(b9)].However, there are rrrarry other ways of forming this interval that create voicings uncommon totraditional non-mod il jazz harmony. Voicings containing the b9 interval (exception noted) aregenerally not as practical for harmonizing melodies in this harmonic style because they areustable and tend to obscure the function of the harmony.

bg Inten/al Chaft Read examples [top note/bottom note] displaced by an octave.

Chord Type

l. ma7

2. maz$ t t

3. mig (or 6/9)

4. domT

5. domT$11)

Avoid bg lnterval

root/ma7

5th/# 11

bstg

bu ts

stfrtt

zt#g

bst tt

bztg

[Ex. 12-1]

px. i2-21

[Ex. 12-3]

[Ex. 12-a]

px. 12-51

[Ex. 12-6]

[Ex. 12-7]

[Ex. 12-B]

6. dornT$9)

7. rlt75)

B. mi7(bs)

Cornrnon use of the b9 interval:

9. domT(b9) bg/rt [Ex. 12-9]

Chapter 12: Rules and Limits '9.1

;cCdddCd4ddCGCCCCCaCa{ta((I{II((

((

(

{

II

Ex. L2-L Ex. L2-2 s*tt6yo'lr*ttr

er /ut1 Ex. L2-3 bt/g Ex. L2-4

Cxre

Ex. 12-tl

Ex. L2-5 siltt'tttt

Ex. L2-9 bg/r

b1 Lz

As voicings descend in register, their sound becomes increasingly dark and at a point' mudfi- and

unusable except for special effects. The science behind this descent into mudville is the ov'ertone

series. More information on the overtone series is available in books on the theory of acoustics'

The most comperiing factor within this phenomenon is the interval created by the voicinglslowest note and the riot of the chord. There are two different scenarios to consider:

Scenario #lIf the lowest note of the voicing is the root, then determine the interval from that root to

the next

note higher in the voicing and check that interval against the Low Interval Lirnits Chart(pug. g4). This chart is u!rrid., only. Intervals graduJly darken in sound, thus their applicationslightly below the chart ,r*y U" upfrop.iu,:. 4o, .onrid.t the length of the notes in question'Don,t necessarily abandon good voice'-leading because of a low 3rd that is only present for

a

sixteenth or eighth note value. Experience willead to better judgment [Ex' 12-10' 12-11]'

x. LZ-b Y*s fy. t/-l bsLL

x. L2-10

ril

t*-,-FElryto oleYec. I = fFLLr^lrrffiiiiliilt_aa Y

7

ffie displaced by * ocrave toforrrr a "spreadt' voicing (Spread Techaique Chapter 1'

92 I azz An angin g Technique s

Notice on the Low fnterral f.irrrits Chart (pug. g4) that the unison and octave have anunmited range and that the perfect 5th interval contains the lowest limited range. The actualintervals that occur above the fi:ndamental in the overtone series are the basis forlis guide.

Scenari o #2

If the lowest note is not the root, then superimpose an "imaginary root" below the lowest note ine voicing and determine that resulting interval. Check the interval against the Low IntervalLirrrits Chart.

Ex. t2-12 Ex. L2-13

blj

7+ +rh,-

t tt tt

J TI

HqNty ?oof rMqrMlv ?oof

The Low Interval Lirnits Char't is a guide to determine how low a voicing can be playedbefore its sound is too dark and indistinguishable. Remember, the chart compares intervals fromunison to major 1Oth from the root of a chord to the next note in the voicing. Playing voicings ona piano and transposing them downward by half steps can begin to give insight into thisphenomenon.

One additional factor to consider is dynamics. When instruments increase in volume theyproduce more and louder overtones, changing the timbre and increasing the ccimplexity of thesound. At soft dynamics instruments project less of the overtones, so we mostly hear thefundamental pitch. At softer dynamics, voicings can be written lower before the mud begins to rise.

Chapter 12: Rules and Limits 93

fa,aaaJIC(lCiiIiIIiiIIIII

I

Lotrl lxrEevnu Ltutts Cuner

?zerect Ut'ttsox Mnoe 2xoMnrol 2rto Mnoe 3to

Mrroe 3co ?esre$ 4rA

Auqueuso 4ru ?serEcr 5rtMtxol 6ttt Mnoc 6rl Mxoc

?rtt Mloe ?n

Mnon l0ru Mloa 10tnMrxoe 9rt Mnoe 9rH?ecrecr ocft.ll.

In semi_open voicings, som voicing positions include a smarl interval (minor 2nd)

surrounded by

larger intervals d"f*; 5th or trr*x;:;;";;-;"- tht *i"or 21d' This voicing can be

difficutt to blend u,d butu,ce with ilrl,r ;;;il of tht 'puting [Ex' l2-1+' 12-15]'

Formally stated, the rule is "intervals above and below a rninor 21d should not be

any

larger than ,r, ,ogr,renred,4th.l,";I*""p.i", ir;;;tht interval below an adjacent 2nd

is to the root. The ierval to the ,oo,^.u, u. uJ hrg..as a r.th. Adjacent 2nds separated

(A s's'

rure) voicings are r*pr"r.a when,*;;tJ. ir,**r:;;;r"r i', 'tttrough th spacing

is stili

not advantageous i" '*tiiualanced sound [Ex' l2- 16] '

bG

94 lazz Ananging Techniques

Solutions:

' Use a substitution for one of the notes of the minor 2nd to eliminate that interval inthe voicing.Change e voicing from semi-open Qrop 2 or 3) to 4 Way Close, which eliminatesthe large intervals on either side of the minor 2nd [Ex. 12-17 , 12- 1B] .

Ex. L2-14 Ex. LZ-LS x. L}-tb Ex. L2-L1 Ex. 12-181

knportant Notes: Don't avoid minor 2ncls in your voicings in order to eliminate the threatof the Adjacent 2nds Separated violation. Remember that minor 2nd and major 7th interv'alsadd richness to voicings. Also, as with all voicing guideJines, the iength of the notes in questionare an important consideration. The next tal concept helps clarify.

Major ConceptLine vs. Voicing

\fhen voicing passages of eighths, triplets or sixteenth notes, the most important consideration isthe line each note creates from one voicing to the next. The notes are moving too fast to focustotally on the indidual voicings. Creating the best possible line in each voice might make itnecessary to sacrifice the integrity of the voicing for a few notes by writing incomplete voicings orolating Low Interval Limits and/ or Adjacent 2nds Separated. When voicing quarters, halvesand longer note values, the voicing is more important and the voicing rules should be aclhered toas much as possible. Keep asking whether the line or voicing is more important at the mornent.Don't sweat what can't be heard.

Assignrnent #9 and #10

In Chapters Eleven and Twelve four-part and five-part voicing techniques and numerousrules and concepts were covered. With the next two assignments Voicing Melody I andVoicing Melody 2 the voicing procedures will be applied to melodies in preparation for project#2.

Chapter 12: Rules aod Limits 95

Voce 1 ANg 2 ?cooMlNANfLY lN4 lJnv Cuosr nxo 3 axo 4PsEooMtNNftY n OeoP 2.

1gt t O7Y)

{orcng MEt oov IAsstqxugur #9 NAME

llrurtogt: hJAfcH For ttlrMoNlc ANrlc

E 0r,7

;sCC;CCCCCCCeCCe

0buAutl CeEus

0buf btttt

0r,tt

Qu,z C7

AuJEgt

qtbtn 1ttt

I

T- 1

1-

ffi =

-I

,1

96 lazz Ananging Techniques

In preparation for assignment #10, Voicing Melody 2, note the following additional guidelines.

Guidelines for Cornbining Voicing Techniques1. Lead lines (melodies) below middle C often work best in unison/octave (not voiced).2. Unison in any register provides a contrasting texture to voiced passages.3. Lead lines from middle C and above work well voiced in 4 Way Close (Drop 2 is often

an option).+. Using Drop 2 on lower notes can result in a Low Intenal Lirnits olation.5. Lead lines an octave above middle C work well in Drop 2 or Drop 3. 4 Way Close

may also be an option.6. 'Be sure all instruments from the lead to the lowest harmony line remain within their

ranges.7. If the melody leaps up and dovn abruptly, the techniques can change accordingly,

even from unison to voicing [Ex. 12-19].B. When the melody leaps up, change to Drop 2 if the preceding note is voiced in 4 Way' Close [Ex. 12-19].9. When the melody leaps down, change to 4 Way Close if the preceding note is voiced in

Drop-Z [Ex. 12-19].

Play and study Ex. i2-19, Mixed Voicing Techniques, at the piano and then listen to JazzAn'ranging CD Track #25, performed by four saxophones.

Ex. 12-19 Mmlq Volclxq rEeHNnuEs CA Tew *25

Chapter 12: Rules and Limits

4d44cccCrrC{cCl;CttttCtCeCtCIatIa

NAME:

i,utl0uJ gL3 g1*tt

Mrx 4 IIJAY Close,0go? 2,3 nNo uttlgox.

orcrug Mgt ooY 2AssqxuExr #10

p*uls

aa_-: t,t

J azz An anging Technique s

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7 0bu1 F*u,7pu,1st

gbu,Tbst

J.1

t1l. ri bg'J', O vl- \ - -"& :.?a

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L4 Auee ts q7&ttt LbJ #"# b.r\ a {r\ && 5., tJ I :ti'-& r {

n Ebt 18 }uln le t 20 gb7Ln,t

I ttw) \v)4.FS 5

l., v)'soB:, \p

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Chapter 10: 4 Way Close 87