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BEE POCKEE ESRB
rTrha *aoohings Of Eerb pomeroy
f ) IJjJ1e Writiag
II ) DuSe
fII) Jazz Conp
i r zr f i * ' l i raa fnza
-VlT
trAvai lable note scalesl fhe sourcemelod.j .c naterials for l ines.
, \A ) r' ia J or unords :
oi vert ical- siructures anC
1) The I chord. takes lonj-an:
2) Al-1 others 1tv, t r r , lv l , b wr) take rydian:
xNote scale !! t-up= chord. tones as circles; others as d.ots; non-avai labl_ehalf-steps xr d. out.
Excercise: write out scales for al l najor chords in alL ke;rs; labe1chord symbol, romanr m_meral analysis.
cu4: (r"o) f (^1r (yil 05.".'(t-Yu)
bsuq'
tx:
t ) Non-ton ic
' . | ,
N-
minor chord.s
IV-7 take Dorian\
F cr'o1 z
I z)_iTT_T
iakes . , rh- . -v:r . i aD.
i -z
Aeol ian
) rrrr-z/ ! ( ' t . r r -zrhRt.l vLr- t \ / ) , J_-L-I \ .J/ ,
R -z(b5)w-l
Exercise: i,Ir i te out scales fox, ,^ i - - ^^-^ T ^--^. , . r - ^^Lr.D-rtr6
-drllE rclJ u Ll' u d,D
C) Do:oin2rt crords:
| ) t.lLxoryol-al]' [].Ltu,avV' (r,^.fo)
Earoonic minor/' "7
! r? \._,> tn- 15V/
rrr-z(t5 ); #rv-T(b5 )
alL non-tonic m:-norfnr" rnq i nr. nhnz'r l <
tal ie locrian
chords i-n a1l- ketrs
?\
Yf-7 takes
IJIt r I
r r raz. fani f i f *h hol . / - r iF I \
- __J1V \r1-3f + J
a) ) .. i terec (A1t)
Chord. tones I, j ,b 7Tensi.ons I passi.ng toaes
.7ur ( o.\a)
b g r ; !g rr , , #5
+ ) !y0.1an wr_En
l+ {r-^br\\J \ - t v _/
, . , -__ L-.J_Ol.rereo seventn ( !L " / l
spelled as pex chord. sJmbo]--passing tones may be' 'Chord. tones must be^-1^^*^-. i ^ -g ![rclJ- J.ltv II -L u D .
r "C-'01,
Note: I f rel-ates Dom 7th to key of moment, hence D7 in lceyY is I IT as^--^^^,r )-^ -, ' r l --4\J,uI / l 'J DC{r VW Yl lVl . . . .
_L/ ] I / rn r-aJor
^\4I r'.1-4.\J
b) al t
z) v/ In IrIJ-nor
\ - - - . Ia ) ii-r) *
b) Al tered
t) rt7 in i ' iajor
+) II7 in minor
Exercise: '$rite out a1l
i l b!r7, TT7, byr7, I vrr? i;arre tyD
6) vr7n-r, v
takes A1t
I'D(OJrL! r I
- I
I
- trrt 07
b)
t ) vJ_r_ /
a\ T '7\
a)D)
Doro 7 chord scal-e s.
I ' r 'n?l l r r t , l l nna.
Scafe r.ri11 eontain
. \ - / t r t^ h1) ' 'q" '2r "5, 4, 5
>lrr< 2) b( , " ' . hA and, /n, tz ^-hz
lar l6nA iae . r r
a) I.ielod.y
'o ) Cl:ord Symbol
c) Bass ]- ine
d) i iarnonic coniext.
N0 AVOID Ir{ Toiilc i"rI}IoR
C- ?oss IBLL SchL€1,, , ,
E) Augment ed. Seventh Chords
' ' I \ ^ t+1t
2) i ' lnole tone scalelry to fgst f i t into Dom 7 situation
F ) Dirinj-s.ned. chord.s
Substi tute scal es
1) #Ia7.e 11-7 vl in a minor kev a l , , ia i or 2nd- - , r _Jthe noment-
a]. 'ava lzarr nf
7 € - z (ss)\? C!{)
C --C,*.'" D-" G'l
B7 Cb"\)
Exercise:
Kcrr n f
2) #Ifo? or !U."t: "of moment
\ , /Kz.r ,c DXt
. / \ s- tF-- I
2\ la:nrai ?
I
Bb:
r ) l
q_ p5V
this progressioni
naior rrd above ke.) '
11dA <ta6 | r ' r7^r1 ' r i
ti-rc)
virite out scales foras befofe ( Ar,ror r rz. \
c-7 l"+". ft-t I b l.ra j.7 F?i Lb7 Ir7 Bt rbzG-7\
D-7 G?: l la
, l \
e'i n' iR'f l [/
F#-7 (bi) Bzl-a- e-" ld+tus)F+?lB- g-(nt. '{}-z
Int erval Chart (Used for constructing Yoices )
Ioo
..1fr
c)0)ti
€I
' r )
1l
) )
vOlrifi'rc RIITIF:
Analyze nelody as to prjnary & seeondary
i.ielod.ic curve vri'l 1 suggest size a,ad shapeP.!. iJl Yo i.ci:rss.
At i .nporta$t nelodic points (?.C. ' S.C. &
clima:ce s
of voicings and. anou:rt " of
others) place bottom notef irst .
3ur1d. voicinss doltnJ from the lead.
?1an amount and. placement of P.D.(The lolver the placenent of P.D. the r icher the soi: : ld )
J_ J jviln z; r\laf, |(Heace ea11ed ?.D. forPr jme Dissonance )
2) ir i : ; 2: Min ?th I l iai 1/Mir- 6-
J L.v.Jt / \12) I iaj 2; Min ?th | [ tal t /LYL]f, 6 I __| - --- t no Crdering !
',, PL+5 i'ij:rr- t/tiai 6 )l_. . rJ
i+J Aug +/ ! rn > |l - i - -
- \ - , / -) ) r+l)
II 3,) l ]otes for voicings cone from the avai lable rr-ote scale of ihe ieoue:r:
?\ Dn^^l .^-r . ^ ' r ' r - - .t ) .ora,Llle u arr avaj.lable I/2 steps in scale
B) Do ITot ITse Avoi.d ldotes
9) choose notes in voicing because of i-ntervalLic relat ionshi.ps toal l other notes in voicing ( as opposed. to chord.o_I function)
r ^ \I0/ l i -ssona.nce gives r ichness; consararce plainess.
r . \11) I lo seconds (T' i in or.Mai) in top 2 voicesi (except in cius-rers orPercussive ef ie"ci; ' , j
' l , \ , i ' t r r . :* . ^r
r ^r , - r . - .r-1 ) v.r-ur;Le.r ; oucsid.e 2 voices or l . ia. j Tth ol Less.
at) 1{o A4/!5 in top 2 voiees
14) llo 5 ana #5 in s.rme voicing except i::. tonic ninor :rrd. ITT-Z lhrvoi.an/ - .\ app-Ll.es -Eo d-f5+ )
i5) i lo 5 a;nd b5 i t t . " - . vo j -c i -ng except in lytr r , rajor (appl ies to fY) b?)
r Z\Lb ) !o not sepaxate seconds fron ad. jacent voices above a^nd /o-r ' he l nvr h.rrmn'no i l rere a ?.4 avaan+
' . , ;^- ^^-^.1^; : ; - . - : : - ; :* ; : ' ' - ' - - : -^- l 'a. - 1 €xcept w.Gen sepa-rated. f:on boiton voice 1rl).e:re an;*thirggoes!
17) Donri separate ad.ajacent voices by more iha::. a. najor sixth-and.preferably a PS- ercept botton tvro voices '*irere ar.ythj.ng gocs.
18) No b9 interval between any two voices ereept
* l ,b9l I_on Dom 7er t t - , , , Ia i7c) ; '5/4 oo ir-n lhf except vrhen b5 is in leadi
19 ) This syste'r gives firnctions oth.er than I in the bass-this i s desj-rabl-e-ruhen this occurs- inagi-ne a root d.irectly beneath botton note in17^i . i1/ lo ,hd , 'Ft lv lor t i r , t erval l in i ts.
20) low Interval t i rnj. ts ( l . f . l . )M.zqr vl l
r - l [Y)".r J 0'r 3 m4z' -1 f4l ^J Z',
You at
1\r j ,ia .
?
2]-) b5 on Dom 7t1r r+iren j"n scale may occur in bass tvith no l.I.l.
22\ [ nr t rn-n l -nz ' . in mirr ' l lh 2- mir , Z+t" /1.- \. -1. / + vr ! : r \Jrr . vurJ.ru - . - - - , -_- , r5) ma:f occur in bass rrr i th no f . , . I . f . , .
2t) Do-ubl iags Of i f thev enhaztnc r^ i nhnsss in voic ings (doubl ing one noteof ?.D. r 'or : .nstanJl l ' .
2+) 3otton 7 ot 4 voices should. not outl ine a basic cnord. sound. foreiEnto i-nt end.ed chord. sor:ad..
f'1^7 f1.6 th6c*s) p5
lLevie-,r of poss i b].e :a:siakes in constnrctr:rg .16;6irt*,
1) Use of AYOI) ITOTES (; i?CI))
Z) USe Or .L i lOTe nOI l -n SCP-l .e (1, l l jJ
i ) seconds in rop 2(\ l ' " " \.L*t \
+) Znds sepalalecr / f ( , - rrrr ,ocr) \
/1,)r"" , /\ l . t - ' I
i l r -4 in top z( ' - - , , \ ' Y ' ' {$r( t ' { \ ) '
, . ,1"1/6) : ld. jacent voice violat ion/a
^.\/ ' \ Lh\
lr'"1 ''r'-'*t j /
7) t l \ - .1u1 I
a\ bc/ l , r / v- r . . \vt 2t1) l ] " \
\ r - l !5 I
q' \ sc /a c/ ' -1 q5 \" ' ' 1 ' \ * Jo5 I
1, l \ T T T l t - , \
f 0 j I. I . 1,. ( i1 ..'... (..-. -&--t ) )/ 'l -
LL) sOTfOm '
vCrces/ L, . \
\ J o"-"" . r_
/
1'2) .A:ry combination of the above! I t
txr$^Pr€:.vv,\.-\_a
r--<_-----: . . DbzE
B.tJo (,n.o ':,r-.
; CoMPLere: TjJt_1'
Ca-lg' 6- 7 (r-tr!r
__r_, *...._.
f \ ,> i , r ' ,3. , i^r- . r ro- . , c- . : ., / '
. - - \A)4tuPut, ,zt i
, . r ( \ i t SctrLtg
Cl(, " ' )
r*o?\5
(b.na1t
y-7 (sos)
p - (i,g)t . /
I Lc.bt_\ lN-Ttr . , .L\ t : C (r \ D-
/v l \ t - t - l \ -
: -J . !
.-- --./'-----'^- ----/ - ----'- ""'
i1 .
Dt'7(!Jsu )
r4 - l b6l
/ r l \' ' , l '
Rerklee ,S:,ia;,e r.. ,f:.:E -
) \C' : t ' - a\a, ia
Q:t . " ;
n'r - C',".1')
I ) lD€!.1 rcy FrTLr. to- \ ! d.<) t
(a \J / ' a ( \ . . . -
.CA\'LKL\>L.
i-o .'\-,.\--.."\--/'\-,14- A tlS'-^t tL\
A ) Ar ' .* , - ' , :z i i .dt \? i ac*Ltg
/ \ t .70-rtus) u
, - \ . . t -7F io) 4, . .J- t t ' " ' Vrtr
) l '
a^cL(- \ :L aeA| r%
c-7(b5) I :1( '"" \
D?4- f '
-)t'//G-
rd c7\5
H-T?5
li ; ( t,<)
T:-r (usl-vT,
L
(b rno ' l_
D!!h5'
c/ l tos\ 11')L fl\u(u>
<i i t ">)/r '7t ) L
' ' i i
r t li r 7 ' - i iii;-j.fi#
C ILLRL\StS C0T\ l -*
tr7 \.-..n-19't \,
1-(u.'1p - iro)
1\ Lc^bg\ r l .3Tf r JcL \ s . . - ^ ' ' )o '
D:+z
gYLtR c\srs Con'++q) l \q)c \TL 5 (a, \ tq \ +RO\\CL $o\L\ ,J c S
)b"(s"! ' r )
r{ - ( bL }
@ -rt u<)
! !- ^_ n:-6 9-t ' r
=- l
liori-Dratolirc lR.IADs OYP. )r.,\!OiTfc ts;ss(
-^- ^ I_ l_o--r : l * : r rn in i r r , : *or- l rn ia ' ro l
\ 4! qf vv:r ] vvv-J4rus-v/
' ' I \ ' . rn i ! . . I ja-rr i . ' .1^.<< ' l i . ra tn. . j I rah f ip ln4-/ ( i i r qol i i1r1. rh- / t l^nlJ-) " I - !s
.2 uv u 6-ve4 l$srwqJ: \ r r r Jvf4 u! -sv
L:LJ utJ-1, /
. I I _ i _ n- i nf , : r : . in: . 91, n i : iof t f iadaI IT TVJJ tr \J vc uLaJ !rr , e- ) vt - !4. .1v '
Zl T)n rrnt ohcrns. i r iad that Contains bass note.JJ
4) Do noi ciroose tr iad that v/ i l i g:ve a repeated note fron prevj.ousstructure i-n an i::-ner Dart in ihe salre voice
5) Do :rot choose tr iad ihat conbined. ,r / i th bass note gi. /es a cormon' 4 .rart scunc. (1,1 ,5 arrd. 6 or ' l in a corinon inveision)
6) Donti choose tr j .ad. trrat combined- ! / i th cass :Ioie SiYes a coinmoni raa-r ] a+o ( rcr"* c^rrnA / ' l q 1 2, Q i r - r nrm'nnr.r ' i : r r re-eq i nr . r )_se v4fr v
7) - ' r . \ ' . r+ / r : r^.co saSS note a P$ bel ow nel_od.J '
S) 3ass note rusi lJe ai least ?4 and. preferabfT r.ore fron boitom : lo-be ofixiad .
q) Rlchness cones fron interval l ic r ich:ress 'oeivreen bass noie a: ld. notes oftr iad.
1n) T;r i r : r - t r , rn i - f iyro Anr:hl a ' l a=d AJbLv I ! ! r / ' y4 v rr ! : w&rrtr
11) Rass -Line is nelodic-no avold- notes. .
t).wnplrs :a\-,,^v-'.\-.,/'-
\ - ,
F Fc d,v. glr at* sc
COiiO-ltlIllG : a 'r sounC[ 't e c]ur1.-rr-'"e
I I ! r - ;^ : .5 i ! l - r : - : =c f i1.ct a l l r r . . i :1r o71., . -1. - -^^^
'^^!r ,^^:- \,_-_o,_-Jq5r_
i:.seriing sa:(es.
2) 3rass as 2 section does no"b have to satis* ' t ' /oi cin6 : l t ies.
1) I:rseri sa:les bet.,reen brass vor-ces
. \L) Sa-'res as a seci ion d.o not l :ave to satisfs' voicing rules,
,) .=r I 1C voices nust satj .sfy voicing =ules
5 ) i io aC jacent brass cr reed voices e::cept r-:1 eL.urene ralge situat;or1s
7 ) l lo Ccublings at periect unison- 3- Dfl CI{
B) Do not use this teclr l ique r 'rhen \ead is belov:
9) 3er.iar e tUe b 9 be'br.reen high :eeos and 1or+ brass
t) hrnpu2:/^\-^--.--.,^-
' i ia i t . r r : :
r--) -7
t 't_- '
d c-
B -tre) F.*t t
Y1:al - l9 3-)
-a a' -4-l "
qlaN o- !? 5. ' , \ RL<
5 H- i5r a7 [q-1 lo - t t l . !
r . \ toPD , .>at.
) ' , C-) I f E;
B o?bto - \1 7t- ' l 9\6- G)
9 Dg 5
\:,/ \
trt
T13
lb 7Y-) cLJ^' | l - \ . .
N l t ] l ( .^ / - , / l \ , \ \ p !r (9 "s-\$,e *1
)0.. ' ,
i*
)_
sI
I
i.
:--7
Deitlee .r,:i,atc .,; t!?
' ' 1- : - ,a_ t . -!'_'.=--\_,r'-\-__
d' <JS\
Il^
Ar r. i .-r)
-\ IVt... za'ilt A/
tr C.l+ )1-r( 's)
t ->, ,
Bedrbe -i.':,la:,e :.r :iiic
-T) rT\s\ ' fv \ r !TAgtS
\h5 f ' - , , r ( \a., ' . . )
i \?6' , G-z(x) l_- /
"1, l , , " ' f - lo. 4.0 11f,
Cti- , rq,6
"_r,"".t.,'ll)_irl- er< L.
t t .r ,.
^1. \.!,- '
5. l uru o{
c\r :*r .qaN o. \P s:-, \ g'.t
G-7 H- psr"6z f t i -1 $/
oPo8,, . o ' ,
P:<' I Dr
rz \'L ' )
I
\ o -rr
* lQ' t t cLJ.^ pu{cr"d ro-rr
C,l..gkr op r,
p br (!,. '5) $rr r !.90 s:
\o ic€. ;Cfctr(1565 Conl- f' trZ-f-.-.-_---.--.-__--^^
z-1tr:* -r ' ..' q7A" ("-9-^ )
-!L h+/''- -a- -t- . {rl * **h+
-t- | r tr
--*
-
'J'1
zr .' r -f..- +
'+ tW
/l__L
+\ t G b
t
Lo Y Vu n/oo "6
.lri o% ""7.
i ' r l lc l iC AITAIISIS
i{-CfES f0 3I iliRI'iOi{IZiD
1) i{otes of l-ong d.u?ai io:'r.
rna l raa* nz' - l nnrar4l
3) Ie:rp l -1/2 beats or J-onger
2 | | qf i rnrr6z' ' i :^r.rt nf n'nrzrco nf l ,-arr
- \ "r t nf ohrrroo 6f l la i6r l21 i t r r l l r , r i t 'a i n a l rorr) J Io rJ -LrL:uvl- L 'cJ
4) ist lryta:rt of rlon d-iatonic chord viiihin a ke]'
; i l i . f dc r 7 '6^ad. |e^ , 'Ad ld-a ih I l .1\ , rcai h:r i r r iaz ' r r r ' i nf I 1 nr. Ie.nc.pr./ t vsvu wf*/ r - - l er :u!{ jv!
a-recnt -3 nr I a.-r . :e1. a+. no i -nt of neioCi c turn.rw !v: ;+ v v;
6 ) i iotes fcl- ' ] oi , /ed by rest.
1) l ic tes in percussive piuases.
a \ aJ^+od i F . r - rarr i = iod n-]e-n ' ] noc\r , / f1\ .J ecD -Lrr . 4I^uv:r+c u!u i / r4qJ!p
q ) Accented noies
10) A:ey ncte deeined important enough to harmonize
r_,r!!-ar.lljq
@:
1 ) A!'e!y ze nelodJ' as to ?. C . 3'r S. C .
2) ; i r :a l ; '2g melod; ' as to t t ; t t points ( including ?.C. l t S.C. )
1) I ielodic curve vri l l - srggesi size anrl shape aui :uco uni of f . J. at - i .po i::.t s .
. f ' r T^i^o | l : - - ! r - \n ints r :s inr : i r - r icrval voieinos anr] r ,orr r i . i -atOniC "Cl ] iaCrS.' f / *u4$6 *r . vvr
A) -r i ; voicings s;:al lcr than usual , snal- l- vs big6er rhsl. . - r '^_i . - r ' in i -n-q qh.r t ' l d Inni . - qnnaur l r=t qrrrnmot-ni oL].o L,(d.r ) ro- u rJ L_s v_ ru .
5) i ' -ove fron I l io H in ulde::rarts \ - r marnr i in 1i : 'a ( <e":a rh-r thn 2-snerooyj .
6) Und.erparts tona[y fron avai lable note scale of t i re m:nent
7) A11 notes a^re good. (no avoid notes)
A) Out of scale cirromatics nay be used. (be careful)
q) C}: .onat ie: , ' ro ie r"nwinr 'nn nr { i nr , rn h,r 1/ '> =ier i - r i4 Jc: t le note.) t eJ l l 1
I n) ;v-n r 'nnqa^rr i i -Ve Ch=Onai iCSLVJ
' I r ) i 'ove as srnooih lv aq nossi 'r"1 c i?1to I st jnsiance of non d.ia' tonicnote.
l2) l ;o nnrc,ar. l r t i ' re secnr-rds i -n tn^ 2 VOiCeS.' r t
V) f. io b9 iniervals r, / /sqne exceptions as in vo j .cings rules.
1., \ l r r ^+; .5n
i r rap-nrral r . r r" l a< f f - r , nm rrni n izrcr r . r r lo<.r dn rrnl- ^r-- l , , ^-- ) -+ ) t ! . l . -L u u: :s.L :4vr \ f4vr,- ,v-vrL5 )-q-ert uv:r \Ju av!-LJ c lv''I ine po int s .
15) ',i:en lead. moves, und.er1la:i.i rrust nove.
' ' I 6') l in i ] .-p- rart rraw rnova mnr.e ihan a whole ione nore tnan ieac-v
I
nove s .
I7 ) Doub l i-ngs at p or 8.re 'anison are 0K
le) Dorrbl inss Eust be prepared. and. resolved in- - - - - -
'1 q) lor :h l i r r rq ; ia-r coni- , i r rc ror. ?s n: .n ' r a i tacksr ' Ir .asn l . r r . i r r^- in na-r*-a-r .
-n+i n 'a
9JL' luL| :LLJ
?n \ r r r . ' is r -2 ' , - r -d ShCUld Cf OSS
2I) Al1oir enough space io rso:lc l ines
22\ T-r,l ar-ra-.-; s ':rr st be in tonal cltaracter+q /
A) 31ue i loies3 ) Var.r-oui aJ-lered dom /t i :s
nn nt. l" : t ' rr rn^t i rrh
ra d=<i . r^ai l i r=J ' i ' r-*"*1i"
21) this reclu:c-ue useiul in noving lrca "mison to voicir:g anJ r,r. V.
2+) last nelooic aitacE before ar n: in often resenbles ::r aproachha-..rrnvri ,r : ' r : io;r unen this occuSs al l-o'r l i -c to con;l lete i tserf.
tCl T. i r ra r . r r ' l :< rnni ^-^; '11+ ^3 - r^ jh+-
1) ,l a- -
u s-w:, r-v LrU v .LIIE J-.lI uv .Jlu
,a^\ errcca<ic. . . -de7l ^f r :nr . r r inr- I i . rac.
1!, / v4€)ovv v: I tv4 r !4rE
r I - r^^ ' it\ I -Llu c,rr
ts) Soiton voiceC) 2nd voicer t ) 4r l r nr e1 1 6f ,hg3gt J -urJ
vr rL*a
21\ a. orir a-r.-r motion in ai least one voi-ce i-s desirable! t I vvrrvr \ -+J
28) Do not '.rite any line tbat /ou c alulot sing
2q) ' ,rn prr usinrr orrt of scale chrouati c d.o not use scale noteCJ J
1/2 s ieo '4at sane lo int of at tackvl*- ^
I ' tr i te ( 4) 2 'oar ex: for 5 sa-.res MTT3 '
staves, '1 ots of steps and l/at:ns
l--'.,-+-'t._-z t \.7
c0; 0srj3 sc_{tJs
SC^r'E i,Tll IifCl-tl-!3:
1) A11 nelod.y notes except ou-i of scale chronatics
2) 3asic chord. tones not alreai/ present in nelod.y
- I - t2si n nhn'n.1 tOneS
A) l ia jor chord.s: I ,7,5
L- -4) IOr l . rC i ' iJ-nor 2 -) t )
c) DoraT: I ,7,67, / , . l_D) i ion tonj .c min ?: 1, ' 5 \b)5, ,
4) On rnajor chord.s-blue notes replace basic ch.t.
. L-5) Tonic ninor: o5 replaces basic ch. t .
6) Result iag scale may be el ioand e,l i f d.esired b7 notes f=on:
A) Original scale of chord symbol
3 ) ilarnonic conte:rt
7) R.esulting scales may be exactly lilce or resemble familiarscales, when this occurs avoj.d notes and. cond.. avoid. noiest, . - . ,^T(^ D r,i.4.r .
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I]) TIIE STYLE OF DUKE ELLINGTON
DUKE "GOODIES" (AN O\,ERVIEW)
A) Combinat ion Diminished Voic ings (C.D.)
B) Blue-Note Voic ings (B.N.V. )
c) Wide Intervaled. Melody ,/ Counter-Melody
D) Tr iadic Tombone Sol is
E) Lead not top voice (Hi-Bari i low Tenor)
F) constant Interval Coupling Above Lead
c) Use of unusual Registral Combinat ions
H) Use of BRASS MUTES -PLUNGER
I) Clar inet lead in reeds (Not c lenn Mi l ler sty le)
J) BRASS SIIAKES faster than usual
I . ) ppAqc D,1h^+rr=+. i ryng Shoftex. than USUaI
L) Conversat ionl ! Jazz Soloists
! t ) Extended Pedal Points
N) r/ihole band concerted within an octave. ( RANGE PERMITTIN G)
O) :qa '-ry1o',r
j cq mclrF Dom 7th than ,Yin 7th
p ) C-yl f ranr ln f r ' l r hrrmchic ai tacl<s
A) Cord3ination
Scales I )
Dininished Clrords: A Non-Diatonic tectrnique
Dom 7:
Diln 7 chord built on 3rd of chord (lorrer)plus Dirl 7 chold built one whole tone above(upper)
e\,,
r '(L)
3)
2, Di.lu 7:Use g!.ventone ALove
LY-',.ao\J
4) Non-tonic minor 7tha) Activate & use avoid
or)b) change chorcl slmbol
progression.
-\)) '!.- | ,t. I cl c .
chord (Iower) plus d,i- 7 one whole(upper)
Scftct = -rho\c- h^\+
lonic maj or/nj.nor-Scale containes 11 2, b3, bsr 6, 7.
(has din propertiee ln 7 note Eeale)€]. .
D^"
note
to dom 7th that fits the
9ca.rt -- i.\€ s:-e-t - lJF. oLl Srti)
RULES FOR CONSTRUCTING C.D. VOTCTNGS
1) Combine Notes from upper with notes from lower
2) You may invert- but usually uppers occur above lowers.
3) Str ive for P.D. between lower & upper (Min 2nd, Maj 7,avai lable b9)
4) No b9's except bg/L on Dom; 7/I on tonic major or minor
5) Other rules from lj-ne course do NOT apply
6) You choose relat i .ve ! ' in. or "out" ness ( : abI in }owers)
7) Do not overuse this technique
8) Technique works only rrhen Lead note is in scale.
9) On Dom 7 with 2,4,+5, or 7 in 1ead, do not use this technique
10) constant structures are usefule!
11) Sound of technique is more important than chord sound.
tY1 D7
tt,-]".:'rJr, . 0,,-i- 5
l t tp\ ar .TTF \-n-nF \z.}TarNlr ]q. I D' , 9tr , D 1\
S OURCE OF
I)
NOTES:
Any diatonic note a l,/2 _.r_^- 1-^1^_, b2l [ ) t r b?D usy lstuw J, J ,
\o. i ' \q ' \ j 5.* \es ' , l \ . . ,1 Nro- E- po". . , ! , \ . t '1I '
/ r ' - , /
4l
M:inr nh nrr l c
bz/=; bs/s
Tonic minor
bt / . t t . - , " . . . ; a I . .^ ca
Dom 7th
Ib3/3. D5/5i 6/b7
Non-tonic Min 7th
D-z
, l^- ^- E*+ , , / r1^r 1^-iJ.N. VU1(: ING RUL-US I -su
vr JL,w w/ wr rcad.
Combine 3 basic chord tones and one related blue note.
Basic chord tones:
a) Major: I ,3,5
b) Tonic minor: 1, L3,5,
c) Dom 7th; L,3,5, \7
d) Non-tonic minor: f , \ : , ( ' )S,b Z
Place blue note at 7/2 =+an wifh nhnrr l tone (not maj Z orbV.! )
Voice in c lose posi t ion
do not the lead
Constant structures useful
Technique l imited to melody being a basic chord tone.
On Dom 7th chords, str ive for b7 as one of 3 basic chord. tones.
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1)
2)
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6)
7)
e)
r0)
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tb* or ' IF-"
o
>,/Beddee,&,I,e,c'e :i -Tu.;ie
D) TRCMBONES: in
1) Use in
l ) Kange:
T\ O1r M^i . lF. .h- ' r , ' l
A,, r malor
r . \ \7T -n\ \ / mriar
,L^\
r l . ' - rr ) v- \ - t )
bac.kground; tonal ly inside. in So1is: t r iadic
close posi t ion (within octave)
D IATONIC
c) brrr maj (b3,!n) bvrr naj , (b7)I ) bv maj (b5)
,, L B',uEI
J)
K.J
f-LJ Un UOm
^.\RI
c)n\
F)
G)
I )T\U]
T' \
TTT\ arn Min
II Ma'i )
7rhI Ma'i )
3tr- IbII I - I\ 'DV Itla j Ibvr l4a j )
I I maj le rrJ_ malvI Maj ]
7th: us
LYDlAN
MXO
I uxo-sus
ALT
LYD 7l+gb9, l f3
a ^r i
l1r +h.\ca +r. ' i ^d<
diatonic to scale
q' \ LEAD NOT TOP VOICE
1) Dist inct ive Register for lead voice
2) Neutral registers for alL other voices
3) Dynamic considerations
4) Dist inct ive vibrato ( lead faster than others)
5) Independ.ent lead movement.
b -r-._
Tenor lead:
f \ '
Lo!^r \ e tuoe_ Ki\ \sf Lf i
f ' jg?os Lb
F) COLOR COUPLING
f) An instrument playing above a melody involved in a solis ituation .
2) Non-Tonal l -y based.
3) Used as an orchestral- colorat j_on
4) Contrasts with other instruments.
5) Widely spaced from other instruments , no closer than p 5.
5) Constant interval above the lead
7) Softer dynamics than other instruments.
cood range for c lar inet:
Good rangie for harmon-muted trumpet
G, H, I , J, K, L, M, N. AND O: LfSTEN & ANALYZE DUKES TUNES
+
p) CONTRAPUNTAL RIIYTHMIC ATTACKS
1) Rhytlunic starting point
2) Score rhvl-hm l ike (hut not) a nlrramid*: - j - .
3) Assign Rhytlunic attacks to various sections
z1) ower ' l an af f a.kS
5) Linking at tacks may be added
6) AIl 3 sections d.o not attack until the rhythmic climax
7) At points leading to and taper ing from cl- imax, 2 sect ionsmay attack together.
8) Types of at tacks:
: l har^rr<civa
b) 3ustainingn I ahrr+lrmi a:1 1 rr rn+ i rza - nnrzi
-a_r. ._z e*-r .+e*-+
9) most effect ive in introductions, interludes, andendingsi not in statement of tune:
De'u'q,
(.a
\{
l.^
r )
PROJECT
Pick a Duke Tune 3-4 mins in length.
Anal rrzc e< J-.1 f . \ r?n . \F +rrha ih^ €^rh ^€qrr\r r_!r! rlr wr d rf,A.[g€ITI€Irt
Analyze arrangement techniques:
a) what instrumentation ?
b) Style of voicing?
c) So1os, backgrounds, etc. ?
4) Compose an original tune in Ellington Style that fits form ofDuJce' s tune.
5) Arrange your tune to fit the format of Dukes arrangement:
6) T7r c+ r l rm^n +?+ i , . \n
4 tpts- jazz ln 4th seat
3 bones- no bass or tr igger
5 saxes a,a, t , t ,b, wi th standard db1s.
piano, drums & bass.
III- JAZZ COMPOS ITfON
' t^72 a^n^ ie hacin; l1rr : d i rar . fad sf i rd l / wi ih i {a r 'n Pomc-nwu qaa vvrsy.
and. as such has few notes per se., however, here are the assignedprojects and H.P. 's suggest ions for working them through-also where
notes were given, they have been included.
PRO,fECT ONE :Wri te 3 fragiments-short musical ideas to be developed into a
complete jazz workz These can be harmonic, melodic,r].rrr+?rmi r! .rr. :n\/ nar4li44l!6rn of these in content.! ] lJ gr lL l rg
,
Pick two of these-usual ly the two that contrast most-as theywi l l cause problems in composing a uni f ied piece containingdiverse elements.
Er\
na\/a] .1na and <^^ra ] -he f i rq i - f -acl-menf i nto aus v srvys
1 1,/2 minutes duration:
Instrumentation; 4 tpts, 3 tbns, 5doublings, piano,
Development may use jazz soloist.
^^hhl6J-a c+:+6mon+
saxes with standardbass, gui tar , drums.
Develope and score the second fragTment into a completestatement 1 1, /2 minutes in durat ion=same idea as "C".
L.,i nk the two pieces of music with an interlude-usinq compositionaltechniques to br idge mood, sty le, temPo etc.
write an intro and ending.
C O}4MENTS :
{rntro r(
rnterlude B Theme Ending
{l -'"-;;-;;" rl - i"i7i *'" tl -"--'' F
A Themer L/ /. mJ-n
This method of v/orking is designed to mai<e you use more
composJ-tional applications of arranging technj-ques; thematic develope -ment, orchestrat ion etc. Working out of t ime sequence should help
you organize ideas on a larger scale; as opposed to taking a tune
and expanding it into a fu11 arrangement.
PRO.JECT TWO:
coft?ose f t pr"J fuNel sv\ f t \ \ nrou?.Jazz f i -avot, no bal lad, no longer than forty bars.
This piece will feature a sma1l band playing w:-.i:i: j-n a largeband context ( trumpet, tenor sax, and trofiibone)
NOTES FOR EFFECTIVE 3 IIORN '!,IRITING:
Voice by interval-Rules do not apply only spirit.Write within an octave, outer voices within a major 7thideal; Min 7th also good; Ttre l-ovier the middle voicefha ?ra+f ar . +r '(r f
^ ' . r ' . rm?i l a+a c^rl l . tA I
J-
Parts by line: Agaj.n break Rul-es, keep spirit.
3) tr iads over bass:
4) 3 prt B-N.V. - 2 C.T. + B. N.
5) Change chord sl4rricol to get desj-red sound
In scoring project 2: lrio ir,enoers should. never rejoin their respectivesect ions, t r io members should. re only soloists. Piece should featurethe trio, but don't think o. -,ie :est of the band solely as background-they can support and ugEen-- --jie :::-o- as well as offer thematicmateria1 of theii own -
?RO,.;-ECT Tl*iI:
A €raa ar ja in: l i=a+ 666pgsi i ion.
SIIPERII4POS ITION OF OVERIYIII-G TONA], CIiT:-lS
t t
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r r \ / r ' r\ :111, \0 ' '1 r
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aary\ e t,1l.< t(l €a. \o.r^.l,.',. c o^tra.$,
-7 CP.
