Ted Pease I mentioned in the October/November 1996 issue of J azz Player that there are a number of contemporary jazz groups that have returned to the sounds and textures of acoustic jazz. In the process, a re-examination of the role of the classic jazz quintets and sextets of the 1950s and 1960s has taken place, and we hear echoes of groups led by Art Blakey, Art Farmer, Miles Davis, and many others, in the music of todays traditionalists such as Wynton Marsalis, Donald Brown, Bill Pierce, Joe Lovano, and Phil Woods, to name a few. In this article, I will explore some arranging tech- niques that are used for the classic jazz sextet. The classic jazz sextet (1950s and 1960s vintage) consists of trumpet, saxophone (alto or tenor), trombone (or perhaps another saxophone), piano, bass and drums. It is interesting to note that this instrumentation is not very different from the tradi- tional New Orleans jazz bands of the 1920s. As small marching bands, their instrumentation usually consisted of trumpet, clarinet, trombone, banjo, tuba, and drums. Styles change, but the more things change, the more they seem to stay the same, or at least similar) Well, anyway... Lets start with the three horns. We will assume that we are writing for trumpet, alto sax, and trombone. The trickiest part about writing for three horns is, what should I leave out. If the harmonic content of the piece involves seventh chords (four part density), or seventh chords and tensions (five-or more- part density), what does one do when there are only three horns? Fortunately, there is always the choice of using unison or octaves. If you go back and listen to the classic jazz sextets, you will hear lots of unison and octaves. So that problem is solved, or at least addressed! But since textural contrast is desirable, and since we know that arrangers have always contrasted unison passages with harmonized passages, lets examine some three part harmonic writing tech- 1997 by Ted Pease, used by permission Cr eative Jazz Wr iting Jazz Player 13 niques. Observe EXAMPLE 1. Here we have a basic lead line with chord changes. Now, observe EXAMPLE 2. Based upon studies of scores written by jazz masters over the years, one con- cludes that harmonic writing tech- niques for three horns dictate that the interval between the top and bottom voice be less than an octave. This supplies the necessary bite in the sound of the horn trio. Specifically, the outside interval (between the trumpet and trombone) is usually a sixth or a seventh. (If the melody line is low, the outside interval might be a fourth or fifth.) The note chosen for the trombone is customarily an important guide tone such as the third or seventh of the chord. That leaves the alto free to play another impor- tant guide tone that will further define the chord sound. It helps to remember that the root and fifth of the chord are generally taken care of by the bass player. This means that the root and fifth of the chord do not necessarily have to appear in the horn parts. The horns can concentrate on the third, sev- enth, ninth, eleventh, and thirteenth, and approach notes, depending upon melodic and harmonic analy- sis. Some writers like to think of this technique as four-way-close with one voice omitted. That may help in the initial stages, but I like to think that three part writing has its own special flavor. Thinking of it as four part writing with one voice removed somehow compromises its importance. The foregoing is especially true when one examines more sophisti- cated writing techniques for three horns. In EXAMPLE 3, the horns are voiced with upper structure triads, supported by the bass and by complementary voicings at the piano. This produces a contem- porary jazz sound. It also rein- forces the important role of the rhythm section in small group writing. Now its your turn. Study the given examples. Then select a tune and begin. At first, just try eight measures of music. Experi- ment with the techniques sug- gested here. If possible, play the voicings on the piano to make sure they sound good. Even better, get three horn players together, write the parts out and hear what you have written. In the meantime, do some selective listening to Art Blakey (try Cara- van on the Riverside label), Art Farmer (any recordings by his Jazztet), and Miles Davis (Kind of Blue, or Milestones). Good luck! 1997 by Ted Pease, used by permission