7

BEE POCKEEESRB
rTrha*aoohings

r
t

Of Eerb pomeroy

) IJjJ1e Writiag

II

) DuSe

fII)

Jazz Conp
ir

zrfi *'l

i raa

fnza

V
lT

trAvailable note scalesl fhe source oi verticalmelod.j.c naterials

for lines.
,\
A)

r'ia J or

unords

siructures

anC

1)

The I chord. takes lonj-an:

2)

A l - 1 o t h e r s 1 t v , t r r , lvl , b wr )

ta ke r yd ia n :

F cr'o1z

xNote scale
!!t-up=
half-steps
xr d. out.
Excercise:

chord. tones as circles;

others

as d.ots; non-availabl_e

write out scales for all najor chords in alL ke;rs; labe1
chord symbol, romanr m_meral analysis.

cu4: (r"o)

f (^1r (yil

05.".'(t-Yu)

tx:
bs uq'

t)

Non-ton ic minor
'.
N-

|,

IV-7

chord.s
take Dorian

z)

_iTT_T

.,rh-.-v:r.i
aD.

iakes

i -z

Yf-7 takes Aeol ian

IJI

tr

)l

rrrr-z/!('t.
vL r - t\
/) ,

rr-zrh R t.

J_ - L - I\.J/,

rrr-z(t5); #rv-T(b5
) talie

locrian

-z(b5)
R
w-l

Exercise:

i,Irite out scales fox alL non-tonic

, , ^i- Lr.D-rtr6

C)

^^-^
-drllE

T ^ - - ^ .,.r rclJ
u Ll' u

^^
d,D

fnr"

rnq i nr.

nhnz'rl

m:-nor chords i-n a1l- ketrs

<

D o : o i n 2 rt cro rd s:
|)

t.lLxoryol-al]' [].Ltu,

?\

Earoonic

av
V' (r,^.fo)

/'

minor

"7r ?

._ ,> tn -

1 5 V/

r raz.fani

fi

f*h

hol__J1V
.

/-r

iF

\r1-3f

+ J

a
(A1t)

..iterec

))

Chord.tones I, j ,b 7
Tensi.onsI passi.ng toaes
.7
ur ( o.\a)

,.

!y0.1an

+)

l+
\J

bg r ; ! g r r , , # 5

,-__

wr_En J_Ol.rereoseventn

{ r - ^ bvr \
\- t

(!L

L-.

" /l

_/

''Chord. tones must be spelled

as pex chord. sJmbo]--passing

tones may be

^g- 1![rclJ^ ^ *^ - . i J.ltv II

^ - .
-L u D

r "C-'

01,

Note:

If

rel-ates Dom 7th to key of moment, hence D7 in lceyYis

)-^

\J,u
^--^^^,r
I/l 'J D C{ r

VW

l--4
-,'r
YllVl....

_L/ ]I/ rn r-aJor

z)

^\
4I

r'.1-4.\J

b)

alt

v/
\

6) vr7
n-r, v
b)

--.
ii-r)
*
A l tered

t)

rt7 in i'iajor - trrt 07

+)

II7

t)

vJ_r_
/

a\

T'7

'$rite

as

b!r7, TT7, byr7, I vrr? i;arretyD

In IrIJ-nor

a)
b)

Exercise:

il

IIT

in minor
out a1l Doro 7 chord scal-es.

\
a)
D)

takes

A1t

I'D(O
JrL!

-I

'r'n?l l rr

t,l l n n a .

Scafe r.ri11 eontain

.\

1)

2)

b(

>lrr<
larl6nA

iae

/trt^

,"'. hA

tz

^-hz

a)

I.ielod.y

'o
)

Cl:ord Symbol

c)

Bass ]-ine

d)

iiarnonic

S ch L 1 ,,,

coniext.

i"rI}IoR

Augment ed. Seventh Chords

''I \

1t

2)
lry
F)

and,/n,

.rr

? os s I B LL

E)

4, 5

"5,

''q " '2 r

N0 AVOID Ir{ Toiilc

C-

^t +

i'lnole tone scale

to fgst
fit
into Dom 7 situation

Dirinj-s.ned. chord.s
Substitute
1)

scal es

#Ia7.e -11-7
,r
the noment-

_J

vl

in a minor kev a l,,ia

i or 2nd
C

7 - z (ss)

\? C!{)

--C,*.'" D-"

G'l

a].'av a

l z ar r

nf

2)

#Ifo? or !U."t:
"
of moment
\,/

Kz.r
,c

DXt
\

./

s- tF - -

B7

ti-rc)

Exercise:

virite
as

Kcrr

nf

rrd above ke.)'

naior

q_ p5V

out scales

befofe

Cb"\)

for

this

progressioni

11dA

<ta6

| r 'r 7^r 1'r i

( Ar,ror rrz.\

Bb:

r)lc-7 l"+".ft-t

I b l.raj.7

G-7

F?i

Bt

Lb7 Ir7

rbz D - 7 G ? : l l

,l\

2\

la:nrai ?

F #- 7( bi) B z l -a -e -" l d + tu s F
) +?lB-g-(nt.'{}-ze'in'iR'f
/

Int erval Chart (Used for constructing Yoices )

o
o

J_J jviln

..1

fr

z;

r\laf, |

(Heace ea11ed ?.D. for

Pr jme Dissonance )

t/\
I|

2) iri:;
Iiaj 2:
2;---Min ?th
12)
|
J

L .v.J

[tal 1/Mirliai
t/LYL]f,6

__
tI no
Crdering !

',,-\ -,/
PL+5
c) ) ) r+l)
0) l_..rJ
ti

i'ij:rr-t/tiai

i + J A u g +/!rn >

6 )

l -i --

vOlrifi'rc RIITIF:

'r)

Analyze nelody

as to prjnary

i.ielod.ic curve vri'l 1 suggest

P.!. iJl Yo i.ci:rss.
1l

At i . n p o r t a $t n e l o d i c
f irst .
3ur1d. voicinss

))

p o i n ts

& seeondary clima:ce s

size

a,ad shape of voicings

( ?.C.'

S.C. & others)

and. anou:rt " of

place bottom note

doltnJ from the lead.

?1an amount and. placement of P.D.

(The lolver the placenent of P.D. the richer

the soi::ld)

I
I

3,)

l]otes for

?\

Dn^^l.^-r.
^'r'r
.ora,Llle
u arr

B)

Do ITot ITse Avoi.d ldotes

9)

choose notes in voicing because of i-ntervalLic relationshi.ps

all other notes in voicing ( as opposed. to chord.o_Ifunction)

t)

^\
I0/
r.

voicings

cone from the available

--.
avaj.lable

I/2

li-ssona.nce gives richness;

\

11)

Ilo seconds (T'iin or.Mai)

Percussive efie"ci; ', j

'l , \
r-1
)

,i 't rr.:*.
r
v.r-ur;Le.r;
^r

at)

1{o A4/!5 in top 2 voiees

14)

llo
5 ana #5 in s.rme voicing
/

i5)

ilo 5 a;nd b5 itt

steps

Z\

in

to

consararce plainess.

or l.ia.j Tth

-Eo d-f5+ )
-.
\ app-Ll.es

(except

ol

in

in cius-rers or

Less.

except i::. tonic

vo j-ci-ng except

."-.

scale

in top 2 voicesi

^r ,- r .- .
oucsid.e
2 voices

rr-ote scale of ihe ieoue:r:

lytr

ninor

:rrd. ITT-Z lhrvoi.an

r,rajor (applies

to

fY)

b?)

Lb )

!o not sepaxate seconds fron ad.jacent voices above a^nd/o-r' he l nvr h.rr
mn'no
ilrere
a ? .4
a va a n +
a.
sepa-rated.
.,;^ ^^-^.1^;:;-.-::-;:*;:''-'--:-^-l
f:on' boiton voice 1rl).e:rean;*thirg
- 1 xcept 'w.Gen
goes!

17)

Donri separate ad.ajacent voices

preferably
a PS- ercept botton

18)

No b9 interval

between any two voices

*elr , ttb 9 l I _ o n
c)

19 )

20)

;'5/4-,,,Iai7
oo ir-n lhf

,hd

low Interval
M.z
qr

ereept

D o m7

This syste'r gives

ruhen this occurs17^i.i1/lo

by more iha::. a. najor sixth-and.

tvro voices '*irere ar.ythj.ng gocs.

,'Ftlv

except vrhen b5 is

firnctions
oth.er than I in the bass-this
inagi-ne a root d.irectly
beneath botton
lort

ir,t erval

(l.f

tirnj.ts

i s desj-rabl-enote in

linits.

.l. )

f1.6 th6c*s)p5

f'1^7

in leadi

vll
r-l

'- 1

[Y)".r
J

0'r 3

m4z

f4l

Z',
^J
at

Yo u

1\r

2]-)

b5 on Dom 7t1r r+iren j"n scale

.22\
-1 ./

[
+

2t)

Do-ubliags

n mi rr
vnrr !t r n-: rn\ J r r . lv-n
u zrJ' .i.ru
-.---

Of if

'l lh

thev

2 - m ir,

may occur
r5)
Z+
t" /1.-\
, -_,

enhaztnc r^i nhnsss

of ?. D. r' o r : . n s t a n J l l ' .
2+)

3otton 7 ot 4 voices should. not outline

to i-nt end.ed chord. sor:ad..

in bass tvith no l.I.l.

ma:f

in

occur

voicings

a basic

in

bass

rrri th

(doubling

no

f.,.I.f.,.

one note

cnord. sound. foreiEn

j ,ia.

lLevie-,r of poss i b].e :a:siakes in constnrctr:rg

1)

Use of AYOI) ITOTES(;i?CI))

Z)

US e

i)

se co nds i n rop 2(\l '""

.L* t\
Znds sepalalecr

+)

Or

.L i l OT e n O I

SC P-l .e (1,l l j J

l -n

f(,-rrrr,ocr) \

/1,)r"",

il
6)

t-'
l .''{$
Y
r ( t ' { \ ) 'I

\
r -4 i n top z ('--,,\'

,.,1 " 1 /
:ld.jacent voice violation/a
/

7) t l \

\ Lh\

'

j
lr'"1 ''r'-'*t ^.\
/

I
-.1 u1

a\
vt

bc/l,r/

q'\

q5
\
sc /a c/ '-1
" '' 1 '\ * Jo5 I

2t 1) l

.16;6irt*,

v- r.. \

]"
\
\ r -l !5 I

\ j
f1 ,l0

T
T
lt- ,
(..-.
I.
IT . 1,.
( i1 ..'...
-&--t ) )

LL)

sOTfOm

/'

vCrces/
'

1'2)

l-

L,.

\ J

.A:ry combination

o"-"".r_

of the above! I t

txr$^Pr:

.vv,\.-\_a

r--<_----: ..

Db z
E

Ca-lg' 6-

B.tJo
(,n.o
':,r-.

(r-tr!r

t_1'TjJ

; C oMPL e r e :

__r_,

*...._.

\ , >i , r ' , 3 .,
,/'

i^r - .r r o-., c-.:.

.--\

A) 4t uP u t , , z t

, . r (\i t

S ctrL tg

Cl (,

"')

r* o?

\5

(b.na1t

y-7(sos)

p - (i,g)
t./

Lc.bt_\ lN- T t r . , .L \t:

(r\

D-

/v

l\

t-

t-

l\

.-- --./'-----'^i1

:- J

----/

.!

----'- ""'

Dt' 7 ( !Jsu

r4

-l

b6l

/ r l\

'',l'

Rerklee,S:,ia;,e r.. ,f:.:E

a -\a ,i a
) \ C ' :t'
Q:t

.";

n'r - C',".1')

( a \J /'

(\.

CA \'LKL \ > L .
I

)l D !.1 r c y

F r T Lr . t o -\!

d .<

.'\-,.\--.."\--/'\-,14-

i-o

)t

) Ar'. *, - ' , : z ii . d t\? i

..
-

AtlS'-^ttL\

a c*L tg

/
\
t.7
u
0- r t us
)
,
..t-7

F i o)

4,..J-tt'"'

-\

V rt

)l '

a^c L ( - \ : L
%

c-7(b5) I:1('""\

D?

/G-

-f'

H- T ?5

-)t'/

; ( t,<)

li

T:-r

c7
rd
\5

( b rno '

c/l to s\

l_

D!!h5'

11'

)L

rt)'7L
rtl

ii;-j.

i r 7' -ii

fi#

'

'i i

( us l

<iit"

>)/

fl\u(u>

-vT,
L

aeA| r

C I L L RL \ S t S
*

tr7 \.-..n-1
9't \,

1-(u.'1
p - iro)

1\

L c^ bg\

r l. 3T f r J c L\ s .

.^''

D:+z

)o

'

C0 T \ l-

q)

gYLtR c\srs
+
q)c \TL
l\

5 (a,\tq

\ +RO\\CL
) b"( s "! ' r )

r{

( bL }

$o\L\,J

c S

Con'+

@-rt u<)

^_
9-t
=- l

n:'r

!!

liori-Dratolirc lR.IADsOYP. )r.,\!OiTfc ts;ss

(
\

'' I \

'.rni!.

I ja - r r i.'

..2

J-)

qf

- ^-4 !

I _l_
o - - r : l *:
v v:r ]

' l i.r a

.1 ^ .< <

rrninirr,:

tn..j
uv Irah
u

.I

T V JJ

tr\J

vc

I _i _ en-

uLaJ

!r r ,

nf

vt

fi pl n4-/
l$srwqJ:

6-ve4

"I-!s

*o
r - l r n i a 'r o l
vvv- J4 r u s- v/

,:r: .in:. 91, ni:iof

(i i r
\rrr

qol i

i u!
1r1.

Jvf4

rh-/ tl ^nl
L:LJ
utJ-1,/

-sv

tf iad

aI

IT

Zl
JJ

T)n rrnt ohcrns. iriad

4)

Do noi ciroose triad that v/ili g:ve a repeated note fron

structure
i-n an i::-ner Dart in ihe salre voice

5)'

Do :rot choose triad ihat conbined. ,r/ith bass note gi./es a cormon
(1,1 ,5 arrd. 6 or 'l in a corinon inveision)
4 .rart scunc.

6)

Donti

that

a+o

r cr "*

-'r.\'.r+

S)

3ass note rusi

ixiad .

q)

Rlchness cones fron

triad.

11)

T;r
!!r

i/'

bass note.

Contains

c^ r r n A

7)

- !4..1v '

choose trj.ad. trrat combined- !/ith

i r a a - rv4fr
]

_se

1n)
Lv

/r:r^.co

r:r-t

y4

saSS note

/' l

R a s s - L i n e i s n e l o d i c-n o

' l a =d

t).wnplrs :
\-,

Fc d,v. glr

i r-r

cass :Ioie SiYes a coinmon

nrm'nnr.r

rich:ress
AJb

a vold- notes..

a\-,,^v-'.\-.,/'-

?4 and. preferabfT

intervallic

Anr : hl

2,

'i :rrre-eq

i nr.r )

a P$ bel ow nel_od.J'

lJe ai least

rrr!:
, r ni- f w&rrtr
iy r o

prevj.ous

at*

sc

r.ore fron

boitom :lo-be of

'oeivreen bass noie a:ld. notes of

COiiO-ltlIllG :
I I

a 'rsounC[ 't e c]ur1.-rr-'"e

!r-;^:.5i!

i:.seriing

l- r :- :

=c

fi1 .ct

a llr r..i :1r ,_-_o,_-Jq5r_o71.,.-1.

sa:(es.

2)

3rass as 2 section

1)

I:rseri

.\
L)

Sa-'resas a seciion

,)

.=rI 1C voices

5)

iio aCjacent

7)

llo Ccublings

B)

Do not use this

9)

3er.iare tUe b 9 be'br.reenhigh :eeos

t) hrnpu2:
/^\-^--.--.,^-

'^^!r,^^:--^^^

does no"b have to satis*'t

'/oi cin6 :lties.

sa:les bet.,reen brass vor-ces

d.o not l:ave to satisfs'

nust satj.sfy

voicing

brass cr reed voices

at periect
teclrlique

unison-

voicing

rules,

=ules
e::cept r-:1eL.urene ralge

3- Dfl

CI{

r'rhen\ead is belov:

and 1or+ brass

situat;or1s

'i i a i

t. rr::

r--) -7

t'

t _- '

c-

B -tre)
Y1:a

3-)

l-l9

F.*tt

-a

a'l "

-4-

qlaN o- !
? 5 .', \ R L <

H - i 5r

oP D

)' , C-)

)_

to -\1

o?b

tr

T
\
'| l N l t]l ( .^/- ,/

l \,

9\6- G)
9 Dg 5

p !r (9"s-\

..
\\

\t

E;

7t-'l

lb 7Y-) cLJ^

l .!

,.>at
r ..

B
\:,/

lo -tt

a7 [q-1

$,e *1
)0..',

i.

:--7

Deitlee.r,:i,atc.,;t!?

''

1-:-,a_

t.

!'_'.=--\_,r'-\-__

d'
I
l^

a'i
lt

-\

<J S\

Ar r.i.-r)

IVt... z

A/

1 - r ( 's)

tr C.l+)

t -> , ,

Bedrbe -i.':,la:,e :.r :iiic

-T)

r
T\s\'fv\r !TAgtS
\h 5

a .,'.

f ' - ,,r (

i\?

.\)

6' ,

G-z(x)

,,"
'
f
" 1 ,l

l_-

lo.

4.0 11f,

C ti -,rq ,6

er <
.r ,.
^1.

"_r,"".t.,'ll)_irl
t

5.l

-t

\.!,-

L.
'

uru o{

qaN o. \
P s:-, \ g'.t

c\r: * r.

G- 7 H - ps r"

rz
' L')

6z fti - 1 oPo

$/

8,,. o',
P :< '

I Dr

p br (!,.'5)

$rr r!

C,l..gkr op r,

* lQ' t t

cLJ.^

\ o -rr

pu{cr"dro-rr

.90s:

Cfc t r(1 5 6 5

\oic.;

' trZ-f-.-.-_---.--.-__--^^

q7

tr:* -r ' ..'

-!L h+/''-

Co n l-f

z-1

-t-

-a-

A" ("-9-^)

{r

l* **h+
-t- |

--*

t
-

'+tW

'J'

/l

zr
__L

.'

-f..-

+\ t
Lo
Y

G
b
.lri o% ""7.
Vu n/oo
"6

tr

i'rllcliC

AITAIISIS

i{-CfES f0 3I iliRI'iOi{IZiD
1)

i{otes

of l-ong d.u?ai io:'r.

rna

4l

3)
2 |

Io

4)

ist

li.f

I e:rp l -1 /2

| qf

-\
) J

lr a a *

rJ

n z'

-l nnrar

b e a ts o r J- onger

i rnrr6z''i:^r.rt

nf

n'nrzrco

nf

l,-arr

L' cJ"r t

nf

ohr r r oo

6f

llai6rl21

-L rL:uvl-

of rlon d-iatonic

lryta:rt
dc

r 7 ' 6 ^ a d .| e ^
vsvu

a-recnt -3

nr

,' Ad
wf*/

ld - a

ih

I l .1\,rcai
v

!v:;+

6)

iiotes fcl-'] oi,/ed by rest.

1)

lictes

i n p e rcu ssi ve

p i uases.

\ar , / \

aJ^+od
f1\.JecD

i F
.r - r a r r i
- L r r . 4 I^ u v:r + c

n - ]e - n'] noc
i/r 4 q J!p

q)

Acce n ted

noies

10)

A:ey ncte

deeined important

= ioud!u

r , r i t 'a i n

chord viiihin

I a.-r.:e1.a+. no i-nt of
rw

i trrll

v;

h:r

lrorr

a ke]'

i rri az'rrr'i

neioCi c turn.

enough to

harmonize

nf

I 1
r--l

nr.
er

Ie.nc.pr.
:u!{jv!

r_,r!!-ar.lljq
@:
1)

A!'e!y ze nelodJ' as to ?. C. 3'r S. C.

2)

; i r : a l ; '2 g me l o d ;' a s to tt;tt points

1)

Iielodic curve vril l- srggesi

po i::.t s .

.f'r
'f /

T^i^o

|l:--!r

-ri; voicings

A)

qh. r t ' l

L ].o L,( d.r )

5)

i'-ove fron

Il io

H in

voieinos

*r.

s;:allcr

..- r ' ^_i. - r ' ini- n- q

?.C. lt S.C. )

size anrl shape aui :ucouni of f . J. at -i.

ir-ricrval
vvr

r:sinr:
*u4$6

-\nints

( including

than usual , snal-l- vs big6er

q n n a u r l r =tr o-

Inni.-

\-r

ulde::rarts

"Cl]iaCrS.

anr] r,orr ri.i-atOniC

q r r r nL_s
m o t -vn_ i

rJ

( <e":a rh-rthn

1i:'a

marnriin

rhsl

ru o .

2-s

n e r o o yj .
6)

Und.erparts tona[y

7)

A1 1 n o te s a ^ re g o o d . (n o avoid notes)

A)

Out of scale cirromatics nay be used. (be careful)

q)
)t

C}:.onatie:

,'roie

fron

available

'nn nr

r"nwinr

note scale of tire m:nent

1/'>
{i nr,rn h,r
ll
1
eJ

I n)

;v-n r'nnqa^rrii-Ve

'I r )

i'ove as srnooihlv aq nossi'r"1c i?1to I st

note.

l2)

l; o

LVJ

'r

s e c n r-rd s

i -n

tn^

-)-+ )

1. ,\

t!.l .-L

15)

',i:en lead. moves, und.er1la:i.i rrust nove.

''I6')

lin i].-pnove s .

-v

r,//sqne exceptions

ir r ap- nr r al

r:4vr
. r r "l a <

po int s .

rart

f f-r, nm
\f4v r ,-

r,vr n- vi r L5n i z r c r

Doubl i-ngs at p or 8.re 'anison are 0K

le)

Dorrblinss Eust be prepared. and. resolved

------

'1q)
I

lor:hl
r.a sn

irrrq
l.r r . ir r ^-

;ia-r coni-,irrc
in

nar * - a- r .
9JL'luL|:LLJ

ror.
- n +i

?s n:.n'r

r r r . ' is

2I)

Al1oir enough space io rso:lc lines

22\

T-r,lar-ra-.-;s ':rrst be in tonal

+q

A)
3)

r rerl ot <. r
)r-.q-

ShCUld

C f OS S

31ue iloies
Var.r-oui aJ-lered dom /ti:s

in

aitacks

n 'a

?n \

r-2 ' ,- r-d

jnsiance

of non d.ia'tonic

d
uvn:r \J ur r n l -

av
^ r!-- -LJ
l

,,

c^l-v

rraw rnova mnr.e ihan a whole ione nore tnan ieac

I7 )

r'

note.

as in vo j.cings rules.

f.io b9 iniervals
^u +;u::s.L
. 5n

Jc:tle

2 V Oi C eS .

V)

lrr

i-ri4

Ch=OnaiiCS

nnrc ,a r.l rti ' re

''Iine

=ier

cltaracter

nn nt.l":t'rr
ra

d =<i . r ^ a i

rn^ti

rrh

l i r =J 'i 'r

-*"*1i"

reclu:c-ue useiul

in noving lrca

"mison to voicir:g

anJ r,r.V.

21)

this

2+)

last nelooic aitacE before ar n:in often resenbles ::r aproach

ha-..rrnvri,r:'r:io;r
unen this occuSs all-o'rl i-c to con;llete itserf.

t1)
Cl
,l

T.irra

, a^ \

r.r ar'l

:< u
-

errcca<ic..

1!,/

.- d e 7 l

v4)ovv

r I
t\ I

ts)
C)
rt t )
J

r n n i r-v
s-w:,

LrU v .LIIE

v:

^f

J-.lI uv

rItv4
:n r .r r inrr!4rE

^-^;
.Jlu

'11+

^3

r^

j h+-

I i .rac.

-r^ ^ ' i
-Llu c,rr

Soiton voice
2 n d vo i ce
4r l r

-urJ

n
vr r

e
1 1
rL*a

6 f,h g 3 g

21\

a.orir a-r.-rmotion

28)

Do not '.rite

2q)

',rnprr usinrr orrt of scale chrouati c d.o not use scale note
1 / 2 si e o vl*'4 a t ^sa n e l o i n t of attack

CJ

vvrrvr\-+J

in ai

any line

least
tbat

one voi-ce i-s desirable

/ou

c alulot

l--'.,-+-'t._-z

I'trite ( 4) 2 'oar ex:

sing

\.7

staves, '1ots of steps and l/at:ns

for 5 sa-.resMTT3
'

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

-t2si n nhn'n.1 tOneS

I,7 ,5

ch o rd .s:

A)

l ia j o r

4)

IOrl.rC i'iJ-nor 2

c)

Do ra T :

D)

i i o n to n j .c mi n ? :

L-)t) -

I,7 ,6 7
, /,.
l_
1, ' 5 \b) 5, ,

4)

On rnajor chord.s-blue notes replace

5)

T o n i c n i n o r:

6)

Resultiag

7)

Lo5

re p l a ces

Original

scale

3)

ilarnonic

conte:rt

ch.t.

basic ch.t.

scale may be elioande,l if

A)

basic

d.esired b7 notes f=on:

of chord symbol

R.esulting scales may be exactly lilce or resemble familiar

scales, when this occurs avoj.d notes and. cond..avoid. noiest
,(^
.-.,^T
D r,i.4.r .

/_
(

L.lf it.,_

. t - ': r /

- -.-

\ ,-2,.
",_;
(' 't
!:

/1-

a_ r )(e J<.)

lr

G'

-r(

\Nt\,\-Ar-

i-r- ..-t,

btfurt<^r -.,aJs

i, Uo ,ci,
tt "" t

\H)

.., rA

lleddee i-a,iese .i Ilr-lr

.\v

:-

. ,e-+
h_, +

-,t\ ^

'.1

tI1

w.^l- L-- -, -

bif,-rr^r

r r r \ a & s ) , Uo r cr r ,\S

i o c-'{bt)

{.^{*)o-,r,,

, *E;b i + i.

6^." r

I])

TIIE STYLE

OF DUKE ELLINGTON
(AN O\,ERVIEW)

DUKE "GOODIES"

A)

Combination

B)

B lue-Note

c)

Wide Intervaled.

D)

Triadic

E)

Lead not

top

F)

constant

Interval

c)

Use of

unusual

H)

Use of

BRASS MUTES -PLUNGER

I)

Clarinet

J)

BRASS SIIAKES faster

I.)

p p Aq c

L)

Conversationl!

J a z z S o lo is t s

!t)

Extended

Points

N)

r/ihole band concerted

O)

:qa

p)

C -y l f ra n rl n

Dimi n is h e d

(C. D. )

V o ic in g s

(B . N. V . )

V oicings

Melody

,/ Counter-Melody

Tombone Solis
(Hi-Barii

voice

in

j
'-ry1o',r cq

mclrF
f r' l

Combinations

(Not clenn

reeds

D ,1 h ^ + rr= + .i r yng

Pedal

Above Lead

Coupling
Registral

lead

Dom

low Tenor)

than

than

within

r h r rmchi c

style)

usual

S hoftex.

7th

Miller

than
ai tacl < s

U S U aI

an octave.
,Yin

7th

( RANGE PERMITTIN G)

A)

Cord3ination
S ca l e s

Dininished

I)

Clrords:

A Non-Diatonic

tectrnique

Dom 7:
Diln 7 chord built
plus Dirl 7 chold
(upper)

9ca.rt -- i.\

e\,,

r'

on 3rd of chord (lorrer)

built
one whole tone above

(L)
-\))

'!.-

s:-e-t- lJF. oLl Srti)

,t.

Di.lu 7:
Use g!.ven chord (Iower)
tone ALove (upper)

2,

LY-',.

cl c .

plus

d,i- 7 one whole

Scftct = -rho\c-h^\+

ao
\J

3)

lonic maj or/nj.norScale containes 11 2, b3, bsr 6, 7.

(has din propertiee
ln 7 note Eeale)

]..

D^"
4)

Non-tonic minor 7th

a) Activate & use avoid note
or)
b) change chorcl slmbol to dom 7th that
progression.

fits

the

RULES FOR CONSTRUCTINGC.D.

VOTCTNGS

1)

Combine Notes from upper with

2)

You may invert-

3)

Strive for P.D. between lower & upper

available b9)

4)

No b9's

5)

Other rules

6)

Yo u ch o o se re l a ti .ve

!' in.

7)

Do not overuse this

technique

8)

Technique works only rrhen Lead note

9)

On Dom 7 with

but

from lower

uppers occur

except bg/L on Dom; 7/I

above lowers.

(Min 2nd, Maj 7,

on tonic

major or minor

from lj-ne course do NOT apply

or "out"

ness ( : abI

is

in } ower s )

in scale.

2,4,+5, or 7 in 1ead, do not use this

10)

constant

11)

Sound of technique

tY1

usually

notes

structures

technique

are usefule!
is more important

than chord sound.

D7

tt,-]".:'rJr,

. 0,,-i- 5

p\

ar.TTF

\- n - n F

\z.} T a r Nlr ]q .

lt t
D ',

9tr,

D 1\

S OURCE OF NOTES:
I)

M :in r

n h nrrl

b z / = ; b s/s
Tonic

minor

bt / . t

t .-,"...;

aI

..^ ca

Dom 7th
b3/3.
4l

Non-tonic

D5 / 5 i
Min

Any diatonic

D-z

\ o. i' \ q ' \ j

/ r'-, /

5 .* \e s ' ,

l \..,1

N ro - E -

6/b7
7th
note

a l,/2

po"..,!,\.t'1I'

_.r_^-

D us y

1
-^1^_,
l s tuw

b2l[)tr
J,

J ,

b?

iJ.N.

V U 1( :ING

RUL - US

,l^ - su

1)

Combine 3 basic

2)

B asic

?\

chord

b)

Tonic

c)

Dom 7th;

L,3,5,\7

d)

Non-tonic

minor:

blue

Voice

in

Constant

7)

Technique

close

Cr/ ,
(-4,

LI

i I n tt<J. )I

min o r:

at

structures
limited

note.

(n o t

maj Z orbV.! )

r za r r r

L3,5,

1,

7/2

f , \ :,(')S,b Z
= + a n wif h

n h n rrl t o n e

lead
useful
to melody being

chords,

[3,-.l*{\
t tl"r 5 l

blue

position
the

Tu'>^e^ ^ ^ - - ...
sPa .!- L r r !r ) ,...

e+6r<

and one related

I,3,5

note

On Dom 7th

1^rcad.

tones

Major:

P lace

Qa .- r i

chord

a)

6)

r0)

,, /r1^r
w/ wr

tone s :

do not

e)

E *+
JL,w

vr
^-

strive

for

a basic

b7 as one of

chord

tone.

3 basic

chord. tones.

..

i mnnr-^--

!.), ^ , t a t
,\ ,..-\ '

c _,

n
\
It

c 1( \

\Di
-J
2X_i_rO

\ o TiLIA L f'n.ii I ;"1i ': c,.Ji'J i': a

t b* or '

F-"

[^.i ilr \ ,./

>,/
Beddee,&,I,e,c'e :i -Tu.;ie

D) TRCMBONES:in bac.kground;

T\

O1r

1)

U se i n close

l)

Kange:

tonally

position

inside.in

(within

So1is:

triadic

octave)

M ^i.lF ..h - ' r ,' l

A,,

r malor

r.\

\7 T -

n\

\/

D IATONIC

m r ia r

,L ^ \
r l.' - r

r)

v-

I)

bv maj

\-t)

,, L B',uE

c ) brrr maj (b3,!

n) bv rr naj , (b7)

II

J)

Ma'i )

LYDlAN

K.J
f - LJ

Un U O m
^.\
RI

7rh
I Ma'i )

MXO

c)

n\

F)

G)

(b5)

3tr-

bIII \'
DV Itla j

uxo-sus

I
I

ALT

bvr l4aj )
I)
T\
U]
T '\

TTT\

arn

M in

II maj l LYD 7
e rrJ_ mal l+g
vI Maj ] b 9 ,l f3
7th:

us a

^ri

l1 r

+h.\ca

+r.'i
^d<

diatonic

to

scale

q '\

LEAD NOT TOP VOICE

1)

Distinctive

2)

Neutral

registers

3)

Dynamic

considerations

4)

Distinctive

vibrato

5)

Independ.ent

lead

Register
for

for

lead

alL

(lead

voice

other

voices

faster

than

others)

movement.

b -r-._

Tenor

lead:

Lo!^r

\ e tuoe_

f\'

Ki\\sf

Lf i

f'jg?osLb

F) COLOR COUPLING
f)

An instrument
s ituation
.

2)

Non-Tonall-y

3)

Used as an orchestral-

4)

Contrasts

5)

Widely

5)

Constant

7)

Softer

cood range

playing

a melody

involved

in

a soli

based.

with

spaced

other

dynamics

coloratj_on
instruments.

from other

interval

for

above

instruments

above the
than

other

, no closer

than

lead
instruments.

clarinet:

Good rangie for

G, H, I,

J,

harmon-muted

K, L, M, N. AND O:

trumpet

LfSTEN & ANALYZE DUKES TUNES

p 5.

p)

CONTRAPUNTAL RIIYTHMIC ATTACKS

1)

Rhytlunic

2)

Sc o re

3)

Assign

z1)

ower

5)

Linking

6)

AIl

7)

At points
may attack

8)

Types of

rh v l -h m

9)

(hut

l i ke

not)

Rhytlunic attacks

'l an

a
*:-j-. nl rrami d

to various

sections

a f f a .k S

attacks

3 sections

:l

point

starting

may be added
d.o not

leading
to
together.

attack

until

the

and tapering

from cl-imax,

a
\{

l.^

climax
2 sections

attacks:
har ^r r < civa

b)

3ustaining

n I

_r.._z

a h r r + lrem
i
a:1
*- r . +e *- +

1 rr

rn+

i rza -

nnrzi
-a

most effective
in introductions,
interludes,
endingsi not in statement of tune:

De'u'q,
(.

rhythmic

and

PROJECT

r)

Pick
Anal

a Duke Tune 3-4 mins

r r zc

e<

Analyze

J- .1

f.\r ? n

arrangement

.\F

+rrha

length.
iqrr\r
h^

^rh rlr
r_!r!

wr
^

what instrumentation

b)

Style

c)

So1os, backgrounds,

of voicing?

4)

Compose an original
DuJce's tune.

5)

Arrange

6)

T7 r c+ r lr m ^n

etc. ?

tune in Ellington

your tune to fit

the format

Style

+ ?+ i, . \ n

j a zz

l n 4 th seat

5 sa xe s a ,a ,t,t,b ,

with

drums & bass.

that

fits

form of

of Dukes arrangement:

3 bones- no bass or trigger

piano,

d rf,A.[gITIIrt

techniques:

a)

4 tp ts-

in

standar d db1s.

III-

JAZZ

't^72
u q aa

COMPOSITfON

a^n^
vvr sy.

ie

hac in; l1r r

di

rar.fad

sfirdl/

and. as such has few notes per se., however,

for working
projects
and H.P.'s
suggestions
they have been included.
notes were given,

wiih

i {a r 'n

P o m c- n w

here are the assigned

where
them through-also

PRO,fECT ONE:
ideas to be developed
musical
Write 3 fragiments-short
melodic,
These can be harmonic,
complete jazz workz
r].rrr+?rmi
r! ,
grlLlrg
! ] lJ

.rr.

:n\/

nar4li44l!6rn

of

these

in

into

content.

most-as they
the two that contrast
Pick two of these-usually
piece containing
will
cause problems in composing a unified
diverse
elements.
na
u
s \/a]
v sr vys. 1na

and

< ^^r a

f i rqi-

]-he

f-acl-menf

i nto

^^hhl 6J-a

c + :+ 6mon+

1 1,/2 minutes duration:

4 tpts, 3 tbns, 5 saxes with standard
drums.
doublings, piano, b a s s , g u it a r ,
Development may use jazz soloist.
Instrumentation;

a complete
Develope and score the second fragTment into
idea as "C".
statement 1 1,/2 minutes in duration=same
E r\

of music with
L.,ink the two pieces
to bridge mood, style,
techniques
write

an intro

compositional

and ending.

C O}4MENTS:

A Theme
r L/ /. mJ-n
r(

{rntro

an interlude-usinq
temPo etc.

Ending
-"--''
-'"-;;-;;" rl -B Theme
*'"
i"i7i
tl
{l
F
rnterlude

to mai<e you use more

is designed
This method of v/orking
develope thematic
technj-ques;
arranging
of
applications
composJ-tional
Working out of time sequence should help
etc.
ment, orchestration
a tune
as opposed to taking
scale;
you organize
ideas on a larger
a fu11 arrangement.
it into
and expanding

PRO.JECTTWO:
coft?ose ft pr"J fuNel sv\ft\\ nrou?.
Jazz fi-avot,
no ballad,
no longer than forty
bars.
j-n
This piece will
feature
a sma1l band playing
w:-.i:i:
a large
( trumpet,
band context
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 7th
ideal; Min 7th also good; Ttre l-ovier the middle voice

tt

fha

?ra+f

. +r'(r

ar

J-

zl

Parts

3)

triads

4)

3 prt

5)

Change

by

^'.

r'.rm?i l a+a

Agaj.n break

line:

c^rll.tA

Rul-es,

keep

spirit.

over bass:
B -N.V .
chord

+ B . N.

2 C. T .

sl4rricol to

get

desj-red

sound

project
In scoring
lrio
ir,enoers should. never rejoin
2:
their
respective
only
Piece
sections,
trio
members should. re
soloists.
should feature
the trio,
but don't
think
o. -,ie :est
of the band solely
as background--jie
and
ugEen-:::-othey can support
as well
as offer
thematic
materia1
of theii
own ?RO,.;-ECT Tl*iI:
A

raa

a r ja in :l

i= a +

SIIPERII4POS ITION

6 6 6 p g si i i on.

OF OVERIYIII-G

TONA], CIiT:-lS
i

r r\

/r'

llit
r '" t
\fi I r$ 1 1

\:111, \0''1r
r G- \lr) P -

'l
Bb-ivD*u

[bc)

!-r

6r<-0-*

+z

i!.-u

".1i;.r.-{i*i*ri._
i--!-

-d

-.

\."IJ-

t;'

-.,-_\,_

\--

t"l

lt

(*.t g

*-r[1.r.r^rocc\-1,.5,L"-..q.

{r

pcrttfr.r
?ro*

h.s t!?er'li^ed3rt
arzfUy.,rJ

f&.d

P.ttta'')

ctd+tc,

suplr-,r1qosca
aary\

e t,1l.<

fov-!t(l

J"tt.t
a.

q^Ttt r51etx5
*
,\^out0 f'^r,"- irtit

\o.r^.l,.',.

c o^tra.$,

-7 CP.