Arranging Musics

Session 5
Writing for the Horn section 2.
Harmonising Non-Chord Tones
Creating “That Big Band Sound”
 Last Week

• Ranges and capabilities of horn section

(saxophones, trumpets, trombones)
• Block harmony and open voicing
• Writing horn section on one stave and then
expanding

2
 This Week
• Look at how to handle non-chord tones in
the melody when writing block and open
voiced harmony in rhythm section

3
 Diminished Harmony
• A stack of minor thirds!

• C Eb Gb (F#) Bbb (A)

• C# E G Bb
• D F Ab B (Cb)

• Just count three semitones

4
Cookie Robots!

5
Passing notes

Diminished Passing
Passing notes are notes that occur in a step between two chord notes. In some cases they can be
harmonised as if they are substituted for a note of the given chord (eg. a suspension or upper
extension), or they can be harmonised with other passing notes to create a new passing chord (very
Chords
often a passing diminished).

Ex 6: Passing notes

• Harmonising non-chord tones with diminished

In ex 6A the Eb is harmonised as if it is an 11th or a suspended 4th. The F# is harmonised with a
diminished chord. There is no movement between the first two notes of voices two, three and four. At
chords can keep individual horn players
slow tempos this is not a problem, but at medium and fast tempos there may be articulation problems,
especially if the lead instrument is playing legato. The passing diminished chord in ex 6B is preferable
playing different notes
as two of the three harmony voices are now moving. The harmonic impact of the passing chords
become less important at faster tempos, but the need to minimise repeated notes in inside parts where
• not picked up at fast tempos
the lead is moving becomes greater and it is usually possible to create movement in all voices.

• No stodginess caused from trying to re-

articulate
6
Ex 7: Revoicing to give more movement in inside parts at fast tempos
 C
Cmaj7Dm7
Famous
G7
Example
Cmaj7 F9
> > > > > > E‹7 A7
27 F9
. . E‹7 A7
>j
.
.œj œ œ œ> œ œ œ œ j > j‰ œ œ ‰ j >
™
œ
j
™ ™
™
œ œœ Œ
™
& ‰ ‰ œ œ œ
Œ œ
œ œ• œœVœ“Fly
œœVœ VbMe V V V V V ™
œœ œœ Ton The œ œ œ œ b œ œ n œ œ œ
œ œ œœ œœ œ œ ™ # œ œ mp
œ œ œ œ œ œ # œœ œœ
œ œ™ œ œ
œœ œ œ œ
Moon” œ - œ œ
Quincy œ œ œ
œ
Jones œ
œ
mf mf
mp Arrangement for Frank
mf Sinatra
31 A‹7
^. Cmaj7
A¨9 Gsus G7(b9)
> j> j> j>
Cmaj7
>
Bdim
> ^~ > A‹7
j
. >
> j> j> ‰j> j j> j> j^~ œn>œ. œ #œ œ œ œ œ œ œ œ #œj œ œj œ œ ~

œnœ. œn œœœ#œœ œbbœb œœœœœœœœœœœ œnœn œœœœœ#œ œœœœœœœ œ™™™™bb œœœœJ ~‰œœœ‰ œœj
7(b9) Bdim A‹7 j
& ‰ j Œ
j J ‰ ‰ œœœœ
œœœ mp
™ œ
mf œ ff

mf ff
Bº7 A‹7 Gº7 D‹7 G7 FŒ„Š7 G7 C6
D . r > > > . .j >
œœœ œœœ œœ œ Œ ™ œœ ‰ # œœœ ™™™
Dm7 Cmaj7 F#m7
35
. >j
œœœ œœœnb œœœG7œœœFŒ„Š7
n œ G7‰ C6 Œ œœ F#m7œœœ≈nœœœœ nœœœ
œ n œ œœ œœœ mf œ # œ ™
Gº7&D‹7 œ œ
œ. œ r œ >œ œœ> n œœœ> œœœœ . ˙˙˙
˙ ™ b.# œœ n>
Cmaj7
œ œ
œœ ‰ # œœœ ™™™
≈nœ nœ Œ j
œœ œœœ œœœ œœœ œœœ œœœ œœ œ
b# œ39œ nFmaj7
œ n œ œœ œœœ mf E7œ # œ ™
œ Bdim Am7 A7 Dm7

& V V V V V V V V V V V V V V V V V V V7 V
& œ œCmaj7
œœ œœœ F#maj7 ™
™
™
?mfV V œV#œ V œ œV œV#œ V œ V œœ œ œ œ œœ ™ œ œ œ
19 Am7 Dm7 G7
œ # œ œ œ
œ œ b œ
œ œ
œFmaj7 n œ
œœ
œ œ œ
œœ œ# œ
Bm7(b5)
œ œ œœ
F7(b5)
œ œ b
œ œ mp mf œ
Slower Playback
31 A‹7
^.
Gsus
A¨9 G7(b9)
fi > > >
Cmaj7
> >
Bdim
> ^~~ >A‹7
j
. > nœ. œ j œ œj œ œj œ œj œ #œj œ œj œ œ
™
‰ j ŒE7(b5#9)/Bb ‰Am7 j C7 C#dim œ œ
™™Moon”
# œ
& j Dm7 C Cmaj7 J ‰Bb13(b5)
‰ œ œ
™
25 E7(b9) G7
œ b œ œ n œ œ œœœ œœœ œ- œQuincy œ
™
? n œœœ bb Me
• œ“Fly œœœ œœœTo
n œ
œ
œœ œ
The
œ
œœ bb # œ œ nœJones
œ œ œ œ b œff
œ b œ œ œ nœ # œ
mpArrangement for Frank Sinatra mf œ
Bº7 A‹7 Gº7 D‹7 G7 FŒ„Š7 G7 C6
35 D . >
rCmaj7 > > Bdim >
™ œ ‰ >œ ™
Dm7 Cmaj7 F#m7
Am7 . >jAb9 . E7(b9).j
b œ˙˙˙ b# œœœ n œœœ œœ œœœ œœœœn œœœ œœœ œœœœ œ œœœ ##œœœœ ™™™
& œœœ œœœ b œœ œœnœœ œ ‰.
30 Em7/A A7(#5#9) G9sus G7(b9)
Œ œ œ ≈nœœ nœœ œ œ œœ
œ Œ
? œ œ n œœ œœ œœ œœ œœœ
œ œ œ œ nœœ œ œb œ ˙œ œ œ œ mf œ
p cresc. f ff
39 Fmaj7 Bdim E7 Am7 A7 Dm7

35 V V V Am7/C
V A7(b9)/C#
V V VDm7 V V V V G7V V Bbdim
V G7(b9)
V Cmaj7
V V V F#m7V V
D
& Am7 E7(b9)/B
? œ œ œ œ œ œ #œ V.
œ œ œ œ #œ œ œ œ b œ nœ œ œ
mf

8
Usually a #11th can be treated as a b5, so the next notesis the 3rd.
note down
Passing
Passing notes are notes that occur in a step between two c
Another Useful Major 7 harmonised as if they are substituted for a note of the give
extension), or they can be harmonised with other passing

to Major 6 often a passing diminished).

Ex 5: #11ths (b5ths)
• Bb6 instead of Bb major 7 lets voice three to move from G to
NON CHORD NOTES
A.
•
Passing notes
The F# in the second chord has been changed to G to give a
Ex 6: Passing notes
Passing notes are notes
smoother that occurline.
melodic in a step between two chord notes. In some cases they can be
harmonised as if they are substituted for a note of
Inthe
ex given
6A thechord
Eb is(eg. a suspension
harmonised as ifor th
it upper
is an 11 or a suspe
• Harmonically
extension), or they can bethis is notwith
harmonised asother
good asnotes
passing
diminished the topassing
chord.create nodiminished
Thereaisnew passing
movement chord (very the firs
between
often a passing diminished).
but will allow for a smoother slow tempos this is not a problem, but at medium and fast
performance at fast tempos.
especially if the lead instrument is playing legato. The pa
as two of the three harmony voices are now moving. The
become less important at faster tempos, but the need to m
the lead is moving becomes greater and it is usually possi

Ex 6: Passing notes
In ex 6A the Eb is harmonised as if it is an 11th or a suspended 4th. The F# is harmonised with a
diminished chord. There is no movement between the first two notes of voices two, three and four. At
slow tempos this is not a problem, but at medium and fast tempos there may be articulation problems,
9
Ex 7: Revoicing to give more movement in inside parts at
 Parallel Chromatic Treatments
Ex 10: Passing note harmonised with minor 9. (NB no root as 9th acts as suspension)
The Cm9 at beat 3 allows two of the three inside parts to move.
• Using exactly same type of chord moving in
Chromatic Neighbour notes and auxiliaries
parallel
These can be harmonised with a chord of the same type moving in parallel or diminished chords

Ex 11: The first non-chord note is a neighbour note harmonised in parallel, the second is a lowe
auxiliary harmonised with a diminished. Both of these harmonisations where chosen to allow
movement in the inside parts.
• Great with neighbour
Diatonic neighbour notes and auxiliariesnotes
These are usually treated as suspensions or extensions. The following example shows how lowe
auxiliaries can be reharmonised on a IIm7-V7-I

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.petethomas.co.uk/jazztechniques/voicing.html (4 de 5) [2003/10/17 23:12:39]
 Dominant 7th
• Ray Charles
Score kind of blues sound

4Œ
& 4 œœœ # œœ œœœ Œ b œœœ n # œœ b œœœ Ó ∑ ∑
# œ œ # œœ œ
G7 C7
?4 ∑ ∑
4w
w

& ∑ ∑ ∑ ∑ ∑ ∑ ∑

?
11
Score
In Open Voicing
4Œ
& 4 œœœ # œœ œœœ Œ b œœœ n # œœ b œœœ Ó ∑ ∑ ∑
# œ œ # œœ œ
G7 C7
? 4 ∑ ∑ ∑
Score 4w
w
4Œ
Drop 2 voicing

& 4 œ œ Œ Ó ∑ ∑ ∑
& ∑ ∑ œ # œœ∑œ œ # œ œ
b œœ # œœ œœ ∑
∑ ∑ ∑ ∑
œ# œ œ œ œœ
? ∑ G∑7 ∑ C∑ ∑ ∑ ∑ ∑
?4
7

4w ∑ ∑ ∑
w
6

12
 Cheek to Cheek
BLOCK HARMONY
Moderately Fast Swing q = 160ish

B m7 C m7 F9
b 4 Œ.
& b 4 # œ
œ œœ ‰ œœ œ œœœ ‰ Œ
n œœ b œœ œœ œœœ œ œœœ œœœ ... œœœ
œ œ. œ
HORNS

C m7 F9
? bb 4 Œ. œ œ œ œ
BASS
4 œ œ œ œ
C
#m7 D m7 G9
b
(OMIT TRUMPET)
& b n # œœ œœœ ‰ œœœ œœ œœ œ ‰ œ œœ b œœœ œœ œœ œ # œœœ œœ ‰ œœ œ
œœ œœ b œœœ œœœ œœœœ
# n œœ n œ œ œœ œœ œœœ n œœ œ œ œ œœ n œ œ
D m7 G9 C m7
? bb œ œ œ œ
œ œ œ œ œ nœ œ œ
3

b
& b ‰ œœœœ .... b œœ œœ b œœœœ b n œœœœ ‰ n n œœœœ ˙˙˙˙ ’ ’ ’ ’
n œœ b b œœ
b
B 6
œ
C 7b9/FF 7b9 C m7/a C m7 F 13
? bb œ œ œ œ œ œ œ œ
œ œ œ
6 13
 Ornamenting Melody
• In jazz music you normally ornament with
half steps or semitones.

14
Nature Boy

15
My Romance

16
 Harmonising Neighbour Ex 12 (A): The F in the Cm7 is harmonised with an F7, the
12 (B) the Cm9 is used to give more movement to the third

Notes- Use Alternating A typical harmonisation of this passage could also have use

Related Chords
g for Jazz Orchestra & Combo

Ex 13: sustained inside parts beneath auxiliary notes.

Changing tones (enclosure)

Ex 12 (A): The F in the Cm7 is harmonised with an F7, the G in the F7 is harmonised with a Cm7. In
12 (B) the Cm9 is used to give more movement to the third part.

• AWhen a melody
typical harmonisation of this passage couldis
also moving or
have used sustained inside ornamented
parts:
Ex 14: The first note is harmonised as a suspension, the sec
in tones/whole steps you can alternate
note with a chord of the same type moving in parallel.

OPEN VOICING
harmonising with related chords. For open voicing the simplest method is to drop the second
be either open or close, or can use a combination.
• Changing
Ex 13: sustained inside parts beneath auxiliary notes.
Thetonesii-V is a common way to do it
(enclosure)

17
 Harmonising Neighbour Ex 12 (A): The F in the Cm7 is harmonised with an F7, the
12 (B) the Cm9 is used to give more movement to the third

Notes- Use Alternating A typical harmonisation of this passage could also have use

Related Chords
g for Jazz Orchestra & Combo

Ex 13: sustained inside parts beneath auxiliary notes.

Changing tones (enclosure)

Ex 12 (A): The F in the Cm7 is harmonised with an F7, the G in the F7 is harmonised with a Cm7. In
12 (B) the Cm9 is used to give more movement to the third part.

• A(A): The F
typical harmonisation inpassage
of this the could Cm7
also have usedis harmonised
sustained inside parts: with
Ex 14: The first note is harmonised as a suspension, the sec
an F7, the G in the F7 is harmonised with a
note with a chord of the same type moving in parallel.

OPEN VOICING
Cm7. For open voicing the simplest method is to drop the second
be either open or close, or can use a combination.
• Changing
Ex 13: sustained inside parts beneath auxiliary notes.
(B):tones The Cm9 is used to give more
(enclosure)

movement to the third part. 18

Score
Nature Boy Realisation

b 4 Œ ‰ j œ œ œœ Œ ∑
& 4 j œ œ ˙. œ œ œœ
œ œ # œœœ œœœ œœ œœ ˙

? 4 ‰
Dm E m7b5 A7 Dm
b 4 j j ˙ j ∑
œ. œ ˙ œ. œ œ. œ ˙

& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
5

19
Besame Mucho Talkthrough

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