COMBINATION DIMINISHED CHORD: Non=diatonic technique TE so dagras poi se uROTS tee —aE Ex.: on F7 = Ro?sB07 = “¥/Ao (Notation resvits in @ A-note scale) No avoid (sym scale 1/2-1f4-1/2-WAl etc) ( 4 PO’s available) 2) OTM. CHORD; Use basic dim, chord + dim chord a whole tone above that z vs avai je aueid nobe- = Tou aE Scale will contain 1, 2, 3, 65,46,47 No avoig . Use toaly if any of seals astes’in ibaa) change-te dom 7 chord= C maj inf CT @ Co 4) _nonetoure mn ren) cugeos; 06_not be aileble nate vat = Sara cats EER Eee Ta — proce nete yal oato eo ase (Oom 7th 4 above or below functions beautifully as sub. Dom 7th) 7 7is_ pie F’pu eT soon Di = Te OE TJ In Dou 7+ Oim 7 scales 4 PU"S epeist. In Tonic dim scales 2 POs eyeist 2) Combine notes from upper dim + lover dim so as to create PD, Tepeein mejor—7En Jos epee ft = ns x ee la 4) yoteingtruies, from tulltauie note techni do'nge anniye © RE (+ 4 in top tuo voices, 2nds separated, Lil’s etc) Binj ae bee beunzeoF i] —bavisusness oF lack of obvi Sigs chord _synbol_sound, is yous cneiaa— 7) In § part uriting only 2 P0’s ere available unless you double. 8) when activating the avoid note in case of Minor 7th or minor 7th{5), use sunt note eee seo EST Teurston mou 10) Congistency of type of sound is more important than sound of chord symbol. 11) Constent structures or parellel@ are very effective. a E =a {ossd-in_perc,Eress, plus note = = = ASSIGNMENT: ‘ 2 four bar examples: \p ne = Tinie, Maden #7 on !ASSTGNMEN. Original 12 bar blues, inactive, simple chords, dom 7th, Tonic is dom 7th. vert ee T = my” ite TPP L. nt Set Dn Teen que eS ery—eo oe owe = Fr = aes watch for 2nds separated (no rule, but it might stick out) If lower chord tone is in lead, make it’s PO(upper) cond. avoid(bS) BLUE NOTE VOICINGS Non-diatonic color technique - Blue note to be rer sot ter tren retateconorotorm StuE=H = ia HORT eo Major chord oni or Dom 7th Non-tonie Minor 7th 5 (es) 5 (as) 67 (8) Any note a + step. ss oie BLUE NOTE VOICING RULES 2 Le-chosd elated Blue_not. aS to TEE tey C) dom 7th 1,3,5,b7 0) non-tonic minorfth 1,63,(b)5,07 ) Do NOT blue the lead Save ag we x : tec chore: 4) Use ONLY when melody is @ basic chord tone. 5) Use in close position ONLY. on Dae eS eT as Toe conAVAILABLE VOICINGS wO ©00 6000 o--- Original 12 bar blues with essentially chord tones in lead, everythin harno- Rized blue note - very inactive. 4 reeds: 1 alto, 2 tenor 3 bari = __clarinet=blue notes (blue note in other Tattt DUKE GOODIES, LISTING OF,: 1) Combination diminished voicings J Wide interval melody and counter melody 4) Use of Dom 7ths harmonically, primarily ju ionictic harmonies _(uhole_tone} SSS nent oT oo 7) Lead not aluays the top voice 8) Unusual registers(Hi bari, Lo tenor, Hi trombone, Lo clarinet etc.) see courting - x 11) Grass shekes faster than usual 12) Plunger in Brass section or solo, muted or open TOES x Erag-Ertad Seems etons ot tas ren, Te eS a 15) Clarinet lead in reeds(non Glenn miller Style) 16) Abrupt changes of mood oe fe ea ig eTinaK = 18) Writing for the individual jezz players 20) Concerting technique uithin the octave(ex.: Tp,Tb,Seri double lead) aes aoe fon Pe = = BEEP PAT (Possible ass. - see last page!!)wu? Br Pn tH au) (But Nome Ex. 2g: 3) te 73 Ae O6Slgnindo snc TH ASSIGNMENT: bey = oeiginal_mole Ties ¢ Wine -TALEPvATS—=—hatt $e J FFombones background (not soli) long susteined notes Lead trombone range: wi = we! giyie of voicing: within en octave, veiy characteristic voicinge: 27g eS taps 2 tenorssbari in p unison counter melody, wide intervals, seme spirit as solo, but less active. Use either top Sth or Lo Sth, no middle mud! 2 tt HIceT Meta imac hive—ani-vit FEET No_ebtesk 5 rombores: = Renssr. ; es wy (nad ALG SP Lege LI eh a a op tp. ex: £7 Poke T 4 Thea pa =CONSTANT COLOR COUPLINGS Constant interval above melody k 33 en THE MORE SEPARATED THE MORE "COLOR" THE LESS "OUT OF BUT CLOSE TO CHORD” Ex, Clarinet col over reeds to be as far above as possible for it not to sound Toles ast = Eset eal Store Ch. or other alterations are gossible, but best avoid ASSIGNMEN: = = with different color pencil Claringt range concert: 4. = p— =p Tayo Le 2) Four part "trombone soli" 3 trombones + 1 baritone (bari znd or 3rd part fe alternating) u/trumpet in harmon m upled above 9 rympet in harmon mute coup) OV ‘Bla : a v Srna Fg aa cg 2 Pe whlo te HERG GOODIE: 3 part (triads) "in" sex soli u/clarinet blue note inside + clari~ col 1 Sassreiment T2 bar original melody or jazzy (dom 7th) blues changes 4 “part sax soli alto lead ATBT w/Clarinet constant color coupling above it Very inactive 3 part long noty trombone beckground, very in(3 b? 9, 3 b7 13 etc) cae: io tb ‘ees reeue(ortr/tsts notEeUe = sve SUStch—out = iEuee = = Sennen 4 part trumpet punctuations, primarily blue note + comb.dim. (inside an vel) Spersely placed, a little more loose es to C.0./Alt. ete. Trumpet range ge REASON TO VOICE TRUMPETS WITHIN RANGE OF 1 OCTAVE BEING THE GESAMT ABILITY TO PHRASE THE SHORT SHORTS SHORT IN AN EQUAL KINDA WAY.LEAD NOT TOP vOICe: |___buke _enyguerte: sari te. side (are th} Ten eat oo bruce Ways to hear LEAD: VOLUME, Vibrato, Register, Small amounts of independent melodic movements, Solo pick-ups, hon-lead voices rhythmically different from lead. TENDER: = aT 5 LEAD should buzz more, other voices less end gay 1 or 2 cranks. 3) Toners mora t LEAD should be injdistinctive range of horn. ASSIGNMENT 2 four bar ex. 1) Bari lead in 3rd voice, alignment AABTT ' — Sess TNSECEVE WeTCOTeETIy : 48 TROMBONE SOLIS Lead range: = }-—“triavie basicity = trie Sots ost tio am om - EZ = : % Percussive situations - Tenpo things (medium, Fest) ON GIVEN MAJOR CHOROS: (A11 numbers refer to root of chord symbol NOT key of tune) Taser Z eee VI minor bIII minor(blues) II major (1ydian) V minor (blues) cf ce eke = ON GIVEN DOM 7th CHORD major (weak) Vminor (diatonienlyé b7) burt minor (sus b9) he 5 i {=seoe— SEE = Tr wajer(lys 677 VI-we jor —tiyo ort BIT major (fe) byIT major (sus) Lu £ » bII_ minor (ait) on = Soa VI minor (diatonic)au Grven Non-ronre mor rtn(S)) cHoros: diatonic triads er Di GF GT =< “g the be ED fee be i se T- - 5 ASSIGNNENTs %, Mi a Domi © an Tenn Soo Ss tay tre tone -vertere ASSIGNMENT: : = ae TH Tead moves. a = = URES rnee—I EEE _Ssbaci prune -ATEI ETE ae 4 part trumpet punctuations SEPARATE ATEACKS OF SECTIONS a Det os thors—o-0s—or = SWeleh-eul Fer Give note vekeings over Albered; cont Sioa =— G7 altered | | i tr * ohare wey be Re 2 WOU. TRADI "CASECONTRAPUNTAL RHYTHNIC ATTACKS: = “gue my tnnre rine only = Wzite down rhythm and assign attacks to warious sections as: ASSIGNMENT: four wes Eker teves)_end score SUS 4 OVER 3 ON DOM 7TH CHANGE: 4 = ct Fon hoa DGIMPRESSTONISTIC HARMONY : e tone scales and chords derived from whole tone scale(no prime diss, P0’s) ‘Xai rena = oe $e—charact = ad: ars long. @ 6 bar phrases (A,6,C) x 6-= hot en z Ss (street soit presstonietie; esas . ‘finet lead tive(broad) Lead tp Hi Bb top range tbari on bottom) 2 Bones, 3 reeds(no cl.) @luesy rately active (Lead in any of horns(may- Bari conversational soloist fare Tsaleiste. Bete Net Sete Sloss E = =} Tlariast ational laves soloist J Staves 3 staves os = inal tune = Fully scored, 3-4 minutes DUKE song ct copy of FRAMEWORK (bar-wise etc) but oun changes + melody ous assignments, excluded in this copy, but could/should be inserted es | SuMENG eter Tis tings DUKE COGDEESE ble-LPs: se a DUKE tune, arr. max. 4:30 And his mother called him Bill j@stral piece J bar for b: lyzstio In a.mellow tone TEcording—or—on TNEneSE—oE OnE aia —— irexperdatie oki GNMENT: Before COLOR COUPLINGS:1) SCALES FUR HAIER CHORIS Xmej Zor x mai 8 ~ = ere tyeren III Phrygien 3) brn * Lyoian TV Lycian 4) pyr . ® U nixolyotan Avoid 4 on Ionian scale «Ne avoid on Lycien TSR Urite cut mejor ocales of » BIE, BVI, BYII in Following Keys: ce fo ds SO AE -urite chor tones es @ notes (1557) } Sassen Panes pe pare = Eu x. bse_siree-ste ee Tey Eoobey even yobs scbocr urite key signature at the beginning of eech group of urite snarps enc FL Mote that recuires one. 5 scales, nouever before ezcn note tnat neecs then, andWcefore eachA 7th CHORDS y iti-7—_*_—phrygien * {tonic avoid end Vv; T-7 "Aeolian avoid 6th ce. Do all but ob E a Usual line up, Chord symbol above, scele in the midale, analysis below ( 3 staves) Lycian bt bII? tekes Lyo 67 m2" " eviTy * 7 I? tokes Lyo 67 or iiixo bITIT takes Lyo b7 (most of the TOT Tixolyoian avoid @ fixe sus 4 "3 Altered on synid Tastee ne avoie-@ neppS sus 4 avoid 3 Peco AC.Ceo eee ao =: oy on 1) k NO avoid note in Tonic minor *)(o21 sometimes Like on Phrygien Tonic Hiner) elody 2) Chore symbol 3) Gese-line 4) Harmonic context I) Welosy 2) Chore symbol 3) eess-line 4) Harmonic context I ILI V = Chorctones, II+IV = Passing tones, VI+VII = Chord tones ENTED 7th CHGADS Ty Aleeres scale : hasd ahains Bhat Gabi 3} Uncle tong scale EAE into dom 7th chord scales if at all possible!! §Q avoid in whole tone scale ~ all notes uritten as or = 6) DIMINISHED 7th CHORDS =e Brats Tos z i =a ANG MOMS CELI UL 2) SUBSTITUTE FOR ABTLo7/ort107; A 11-7'°5) y7 in | minoz key @ mejor thir e- - b. he vey of th youn (PS) yoy Various § bar onrases utilizing all types of chords ~ stressing the use of zi iets - 2 Soest = keychanges (Pivot chores) on strong rhythmic places Ist beat versus 3rd beat) irc heat ware: d_heat} a of es b By & #, , 4 bp Be BD t baxINTERVAL CHAR within en octave) 1) PO = Prime dissonant All Sros and all wths 1/2 = maj 7th (maj + ain ros end éths = = Wa eno WATT pa = ps a4 = : 3) Place bottom note of voicing first at important melooic points. (pc,s,aee) 4) Plan the emount end placement of pO. = = 7) Build voicings from the top down 6) Notes come from the available note scale of the moment Sas ae = Takes PA co rere OSH z notes, adjacent + non-adjacent. 11) Dissonance gives richness, consonance gives pleinness z mini to zs a She eee Tay Dutsice tus voices a maj 7En oF less 14) No eugnented 4th interval betueen top two voices 15) io hO intorusl bets ny tae * sdiseen awease nee 16) Oo not separate 2nds, naj or min, Fron edjecent voice above and below by more than +4, except when nds ate separates from botton voice where ony- thing goes. ro Sener ete ae ace 3 = Se open; except between coStem —— any ene Sees 6) No $ + b3 in same voicing except in Lycian major.(iiot in Lyd b? eitner!) 3) No 5 +35 in seme voicing except in Tonic Minor and III-7 Phrygian. a aeons Seas a Som Tr rs on = Sea = eno epply Cou Tufenvat CInITS = its | prom ae2k) LTL maj 7 min? mej 6 +8 pS +4 p4 maj 3 min 3 maj 2 =o ¢ 1/2 step = VE are the judge 2 SCaTE aA Seton es eS Pee TOTS vor ew arro minor trey Fonction os tue es uesires wienooe appl. Lils. 24) Doubling at the octave ere OK if they enhence richness or plainness in voi- tencey chor soune ) ex. Cod?) 29D Bie SMALL_VOICING= 0 - Lota Gay (7 Wh) Asis Winimum 12 five-part voicings, tuo staves, e5,as,ts,ts,bs. You set up what you want, Key, Chord, fielody, Size, amount of dissonance SISSEEST = 6 voicings for 5 saxes, ATBAT, 2 staves, 3 parts in treble Z parts in dass, F on horn max top range. Concert C lowest note on tenor when in bess puto re tna TSLEER EE TEE Same variety es previous assignment. Ex. TERS Po evSSI SET se Sl ahnaee mee woe chat CreStes COT ee ey Cust Rid ZPD 7 oe o Lessover SMALL VOICTHG = 0 ~ 10th, WiEDIUN VEICING = 1th - 2 oct’s. LARGE VOICING = 2 oct’s. > ” 1 PD Bie 5.0 3pp, merivn ) Bin as Pas. Coys 1) Label intervals, 3 for dissonance, € for consanance v 2) write out corresponding chord sceles and bracket all a/Zileble g steps. Tpptnere sre gny gstepse oT AVILAILE, breckes age x out.(exegat avoia notes) Fr) ie fist) oe =) chy De 3) Lebel intervals, C for consonants, 0 for dissonents: D1 for PD, D2 for maj znd/ min 7th, 03 for p4/pS, D4 for +4/05 for § sexes, ATBAT.(urite out chord scales, bracket etc.) 4) Vgice the folleuin, ee a og abe Be te) gba (b=) E7 5 3" Ba of wy BawVERTICAL STAUCTURE oS * nt z T a * tio voicing higher or lousr then PC. Hote inneoigsly precesing Po be smaller xo 2 four ber phreses for 5 sexes, AATT2, 2 staves, concert score. range limit: ho higher than F on norn, no low A on bari, low C on tenor . inactive meloay, long notes. AAT in treole Clef, TS in bass clef fiake 3 + maj 7 avoic notes to omit +4 (4) I) Write a Giatonie bess line to given melouy, diatonic to scale of the moment, LIL’s do not apply. (same rhythm es melody}. Way use avoid notes. 2) Welody note may be I,ITI or V of a major or minor triad. : =r SS = = wy Give Fepeateo notes in inner parts in tne Same voI= cing. 5) Choose triad tnat combined with bess note aces not create e common 4 part souno z Une i TE es sees Soe pee pee a inecmere 5 part sound. 6) Common inepl. 5 part soun I, Wy VII, IX in @ common inversion. 11) Bess note must be at least a p4 fron bottom note of triad-voicing, preferably More. (Gr pi fron doublea leac) = merbtins pect pee 14) if bottom note (bess note) violates LIL’s, it’s S060. 15) Teke into consiceration if chord symbol is ciatonic to key or not, —~- Tr a tuo part pareses, tuo Staves, trac in treble, Dace In OseS CleteEx. batt Di, Ey Fie kDa Py FF ar 1 DE 4h Ti sf SO RAN RID e eis elt aes i a we ee RD Ke Se 4 ino ae ex = ae “iste — H i a fT one aa FAM he ome I> Fa opp Me Bet 4 an ay = ra f po oupoy, og 2 four ber examples comb, voicings eno triaos, 5 parts, Z staves AATIG(Uel. leao on trieos). Clerinet meximum range on triacs: p be (tees) oe 0we yer tanastue PP — oP oer escort reeeeee ‘4 sy me Dy ak LEAL 1-4 fee cp aby arb Ps ra GPsate €TeTeo 7, ‘ oF Sake Ki re Bar wk Ate CHTST = 2 TOUT Var Exaiples; 1 OFIgiNel EX-, 1 svenuer Herb likes triao 2 whole step below bass ano tried 3 step below bess Ey etess esa section ups Tot satr STCENG FULESs 3) Insert sexes oetween Grass voices. 4) Sexe: nectar: a have ti f ing rules SB) no adjacent Brass Or eGjacent feed voices except in extreme rene CEses. 7) No coublings et tne p unison. $)_douslings at tne ects: m SE SEREE Ten uare of tne 69 between Hi reed and Lo arass REASON FGR VOTCIZG BRASS FIRST, THEN LiSER Eo Ew treet Tih— i | ex. GAM 4 Suucearte teowmaes = cont'os Ce ASSIGNMENT: lst question: b " Ber Gr, Wo ‘wha Krauts a wai of aement, size L.e+: TE: SEUSEE: =t First Inporeant note or change of Key 3) 8 " "mm modality" within a key. E (subcon - tonic, com - tonic, subdom ~ com etc) | oer rer ne Penn GYRSEETARS TiERa se | 3st preceueu ene7or Torrous0-by-Sneervel OF ey S10 UF TSTaeTP aT OF Langer, ef point of melogicatven. ex, = Q bear oe =. : e e 3-3 8) Notes Followed by rests 7) Notes in percussive phrases Rescarecastse Sy ote T-erpeggre 10)Any note YOU deen important enough, harmonize. I] Analyze melocy as to PC enc sUt’s. 2) Qpoints (including pc + sc’s) 5) Voice important @points smaller then usual. Voice less imporcent Qpoints lerger than usual. se For foe em is S=Ee TEESE Snen SE oy—treretnee GSeEnS 8) Nove fron Qpoint to QYpoint in uncerperts by melodic line, sawe rhythm es meloay. + — TEREST SSS SEE SE Ta ae ee 11) Out of scele chromstics may be used (SE CAREFUL!). If scale note is available, DUU"T use out of scale chromatics. When using out of scale chromatics, oo not use sczle note a» step cbove or Taube eneedce: oot -vace point on bese steers — t caer tReet — ae 3 m 13) Two consecutive chromaties ere impossible, 14) Rove as smoothly es possible into first instance of non-uietonic note. SS oe z = { 18) Ooublings et the p unison or octave are Ok. 17) Doublines must be prepared and raselved in contrary motions Ay) Contrary motion in at least 1 voice is cesirable,LINE RULES CONT’D: 20) Perts may eno shoul¢ cross. i Tn anace—e Tae A) Blue notes 6) various alt. dom 7th, 23) Lact melodic atteck before eQ}point often resembles en spproach harnont- 25) ko BS int with same excegtions as in voicing rules. 26) All other interval rules from voicing rules do not apply. TSpESKERIOE = — 25) This technique is useful going from unison to voicing and vice versa. 25) Do not urite any line thet YGU cannot sing. TACT pnrases = = 32) Watch for not overdoing pO’s in lines. J Soliavnicings: Kiddle fis ehaut eo Jeu es you should co. Belay this us! = Tm aE eT OOH 7 19D ar 37 acd 61 @ Cate ol - ovr oF Ale { aba Z ehbamini z * 2 Zits, SwieTAIC@}POTWT MAKE LINES MORE EASY-UATCH UP ANID OOUN DUUELTNS + bi 4 tuo bar examples on 3 steves: Top staff — 2 altos and staff - 2 tenors 3rd staff — baritone Sono r CiaUE Tepoines at beast one crise per ex By x) Wee PARTS move Mee Tha WHAGIT ceCoMPOSTT SCALE: scare win conrarn: aie = omet a 7 figic chord tones, not present in melody? R) Maj chords 13.5 8) Tonic minor chords 1 63 5 C) Dom 7th chords 1 367 D) Non-tonic minor 7th chords 1 b3 (b)5 b7 ars a BI S=S— {03,05 R7 | rea ace aS 5) oe Other notes suggested by scale of original chord-change or harmonic context. 45) Resulting scales may be § or 6 note scales, usually expand it to a 7 note scale, toe = rs 5 reeds/3 staves AATTB - 4 tuo bar ex., no triads, Eygueimntnatty toe . enor aomerody 4) Oom 7th scale altered from 1 to 3, mixo from 3 to b7, avoid 4 ( 6 note scale ) ottQUARTERLY EXAM Voice the following exam) ing Voicing rules and Line rules. Indicate Ho Tatar: TrasstL Jie Erres: = usual = 3 F ait 8) ea ty | | 2 Gr é o Voice the follouing using a combination of Voicings, Triads and Lines. cate Triads by fractions, Voicings by H and Lines (Lines 4 2 in-inehie ciety harttane (ar tenor} Indi- ty Use), Gor gS) eg, op e Pe Gr 7 Fa at é 3 of Co AA a : ors eto ign) yet iS Ff i Voice the following using Voicing technique (no Triads) and Lines. Indicate Hepoints end lines as usual. Ssaxes using 3 staves. of?LINE RULES + VOLCING RULES BOTH APPLY: BE > If passage is active enough to be handled by Line, handle ft lightly - a coupling situation, 4 or 5 parts (tp’s or others) handled as usuel Line, H-points. Then couple reeds CONCERTING OF TREADS: fad couplings in unis or octaves, no new notes. ae DYFINAL PROJECT EXAM CONDITIONS: No parts, only score Thursdey of exem-week (Dec. 20th) due 12%-o1™(no class 11-1 z = 5 = Uoncert score. Wencarsal letters in eeginning of each chorus (hat ete} No letters within chorus. Numerical subdivi Any bar(s) not part of tune (interlude, intr a. sion within chorus. ‘9 etc.) must be labelled, ex.: bu t : Guitar and bass sound 8 vb from where uritten as usual. Lasting approximately 3 minutes (245 - 315) not more not less or grade goes J. Teapo In words (Slow, rast, weaTUR) Any note of J beat cur. Nf must be marked long, or short + TaTine techniquesy use Q}roine Cine All triads to be marked with fractions(©%/c). HSFRONTE WOIKIING; TOCSL NEIWOTTS PICTUTED Ea) Chord symbol, scale of the moment,(C7(1yd b7°/), In COMPOSIT SCALES write out Scale if no other way to show it. Any place in paper, but there to stay. (page ae et eT re B: x Scoabess soeciek tinesor =: Piano, bass quiter, imp. soloist: chord symbol + scqle name Underurite crum part, ». 164) Hi’s + Lo’s never combine except if concerting PROJECT ee Stop AE CEUUETEY—U 1 ran = uite of 3 — Fach Call A, @ etc. Piano score of PORGY AND BESS st Call: Flute solo voice gad—Cell: soley MELODY OR JAZZ PLAYING. REEOS: Flute-clarinet-alto-ten-basscl. = =f dramDube Ching ko "s Servi op , e . ' @ ia tw J B as ea =: == =a = — =O — | < 2 he eS € = =e SS fey : = S22 tHe yp te be é = = z =e = z 4 > a esolt 3. Q_ 3 7 == === + =, 1 UTS T+ fe Wet ~ FT > 7 3 i = — a alec ips. ; A tabla — =e = 5 5 _— ry < bis | fabets i [= = = z potee Tt ras ee T v44 ath en = oHi denoapeninet be | om fein -37|* Ay be