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[ENG] JAZZ ARRANGING FOR BEGINNERS - PART 1

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DOI: 10.13140/RG.2.2.15841.43361

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 Original Article:
Cataldo, C. (2020) Jazz Arranging
for Beginners – Part 1
[Tecniche di Arrangiamento Jazz
per Principianti – Prima Parte].
J. of Science, Humanities and Arts (JOSHA), 7(2).
https://dx.doi.org/10.17160/josha.7.2.642

Journal of Science, Humanities and Arts

Carmine Cataldo
JAZZ ARRANGING FOR BEGINNERS
PART 1
English Version
Translated by Rawl Gelinas

ABSTRACT – In this introductory paper we discuss some simple 2 and

3-part arranging techniques, particularly suitable for jazz musicians.
By exploiting the Diatonic Parallelism, we provide an explicit writing
of the 2 and 3-part harmonization of 21 fundamental scales (or
modes). The 2-part harmonization is carried out by using third and
sixth intervals. The 3-part harmonization is carried out by resorting
to triads (in root position, first and second inversions), in close and
open (DROP2) form. In order to harmonize the so-called approach
notes, we herein exclusively resort to the Chromatic Parallelism.
 Jazz Arranging for Beginners – Part 1 [Tecniche di
Arrangiamento Jazz per Principianti – Prima Parte]

Authors: Carmine Cataldo

Submitted: 2. March 2020
Published: 16. March 2020
Volume: 7
Issue: 2
Affiliation: Independent Researcher, PhD in Mechanical Engineering, MD in
Disciplines of Jazz and Improvisation (Jazz Piano), Battipaglia
(SA), Italy
Languages: Italian
Keywords: Jazz Arranging, Diatonic Parallelism, Chromatic Parallelism,
Diatonic Thirds, Diatonic Sixths, Diatonic Triads
Categories: Performing Arts, Music
DOI: 10.17160/josha.7.2.642
Abstract:

In this introductory paper we discuss some simple 2 and 3-part arranging techniques, particularly suitable
for jazz musicians. By exploiting Diatonic Parallelism, we provide an explicit writing of the 2 and 3-part
harmonization of 21 fundamental scales (or modes). The 2-part harmonization is carried out by using third
and sixth intervals. The 3-part harmonization is carried out by resorting to triads (in root position, first and
second inversions), in close and open (DROP2) form. In order to harmonize the so-called approach notes,
we herein exclusively resort to Chromatic Parallelism.

Journal of Science,
Humanities and Arts
josha.org
JOSHA is a service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content
 March 2020 Volume 7, Issue 2
Jazz Arrangement Techniques for Beginners -
First Part: Two and Three Part Harmonization
Carmine Cataldo
PhD in Mechanical Engineering, MD in Disciplines of Jazz and Improvisation - Jazz Piano, Battipaglia (SA), Italy

Abstract
In this basic introductory article, some simple 2 and 3 Voice arrangement techniques are presented which are suited, although not
exclusively, to the jazz field. For 2 Voice arrangements, Diatonic Parallelism by Thirds and Sixths is developed. For 3 Voice
arrangements, we discuss Diatonic Parallelism by Triads, in root or inverted positions. The methodologies are applied, in explicit
form, to the Ionian, Ipoionian and Harmonic Minor Scales, as well as to the respective derivative scales (for a total of 21 Scales or
Modes). In discussing the harmonization of the non-diatonic notes, the concept of Chromatic Parallelism is briefly introduced. A
short section is dedicated to harmonization techniques by "Generating Triads".

Keywords
Jazz Arranging, Diatonic Parallelism, Chromatic Parallelism, Diatonic Thirds, Diatonic Sixths, Diatonic Triads

Introduction: Generalities on the drafting of an arrangement

The correct drafting of an arrangement typically consists of six phases.

The first phase consists in carrying out an in-depth melodic and harmonic analysis of the piece to be arranged.

The second phase involves determining the structure of the arrangement. Generally, a complete arrangement consists of the
following sections: Introduction, Initial Theme, Solos (with possible Backgrounds), Special (sometimes used as a separating
element between Solos), Final Theme, and Coda.

The third phase consists in choosing how to arrange the ensemble composition within the staff, taking into account the possible
transposing nature of the selected tools. If the ensemble does not include multiple instruments of the same type, it is very
convenient to prepare a rough arrangement, with a single or double staff, with just the actual notes shown. If, on the contrary, the
ensemble includes several instruments of the same type, for example two trumpets, a compact writing of the corresponding voices
can be contemplated, using the same staff: naturally, to remain in the example, the first trumpet will always play the top note. In
this phase, it is imperative to pay particular attention to the conventional extensions of the individual instruments, in order to avoid
the writing of notes that may, in practical terms be unplayable by some performers. It should be taken into account, that the
extended range of some instruments, especially the trumpet, depends upon the skill of the performer.

The fourth phase, in the event that the arranger has drawn up a preliminary arrangement of actual notes, consists of the formal
writing of all the separate parts related to the transposing instruments constituting the ensemble. For example, the trumpet line
must be transposed up a major second, the alto sax up a major sixth and the tenor sax up a major ninth. In the event that it is
decided to assign a key signature to the piano staves by adapting to the original key of the piece to be arranged, the key signatures
of the staves relating to the transposing instruments must obviously be transposed. If the local tonal center has numerous
fluctuations within the piece, it is preferable to avoid assigning key signatures to the staves. This procedure, however, is not the
same as considering the piece as transcribed to the key of C Major (or A Minor): if this were the case, for example, the key
signatures would be D Major (or B Minor) for the trumpet and tenor sax staves and A Major (or F# Minor) for the alto sax staff.

The fifth phase, very delicate, is dedicated to the meticulous rewriting of the harmonic indications, to be carried out by making
explicit any tensions and / or alterations, also revealing the possibly desired singing note. It is a good idea to avoid the explicit
writing of voicings related to instruments, such as the guitar, where one may not have in-depth knowledge since the expert
performer should be capable of constructing his own interventions, conforming to the arranger's chordal prescriptions.

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 March 2020 Volume 7, Issue 2
The sixth and last phase can be considered verification and refinement. Mainly, it deals with the positioning of the test letters
(rehearsal letters) and the adoption of methodologies to facilitate as much as possible the impromptu reading of the arrangement.
As for the rehearsal letters, for example, it is good practice that they be placed every eight measures, proceeding in alphabetical
order. In a classic 32-measure structure, commonly referred to as the "AABA" form (for example the “Rhythm Changes”), the
rehearsal letters will be A, B, C and D, affixed at regular intervals of eight measures. With regard to the techniques aimed at
facilitating reading, it is strongly recommended, at least in the jazz field, to adopt staves consisting of four bars, not including any
repetitions. This procedure facilitates the performer maintaining a reasonable awareness of their positioning within the particular
structure. Where the aforementioned is not practicable, the affixing, at regular intervals of four bars, of the so-called "courtesy
double bars" can be contemplated. A further precaution consists in adopting a notation approach that always makes the third
movement of each measure explicit (avoiding, as far as possible, syncopes) [1].

1. 2-Voice Harmonization: Diatonic Parallelism by Thirds and Sixths

Diatonic Parallelism by Thirds and Sixths [2] represents an undoubtedly versatile and effective 2-voice arrangement technique.
Considering its extreme simplicity, this methodology, after proper knowledge of the fundamental modes, has considerable value
also in the improvisational field, as it does not require the taking of particular precautions.

1.1. Diatonic Parallelism by Thirds and Sixths: Ionian and Derivative Scales

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1.2. Diatonic Parallelism by Thirds and Sixths: Ipoionian and derivative scales

1.3. Diatonic Parallelism by Thirds and Sixths: harmonic minor and derivative scales

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2. 3-Voice Harmonization: Diatonic Parallelism by Triads

Diatonic Parallelism by Triads [2] is one of the most interesting arrangement techniques. While appearing somewhat minimal, the
number of voices involved (3), is in fact sufficient to guarantee a fair harmonic definition of the piece to be arranged. There are
three conventional methods. Moreover, there are three forms in which an ordinary Triad (Major, Minor, Augmented or
Diminished) can occur: in root position, first inversion and second inversion. Furthermore, each of the aforementioned forms can
be expressed in Closed and Open Variants. DROP 2 is particularly useful for guitarists who wish to draw up an arrangement for
their instrument. For each Scale or Mode, the two Variations are explicitly written on the same staff.

2.1. Diatonic Parallelism by Triads: First Form, Closed and Open Variants (DROP 2)
The Harmonizing Triads in root position:

2.1.1. Ionian and derivative scales

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2.1.2 Ipoionic and derivative scales

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2.1.3. Minor harmonic and derivative scales

2.2. Diatonic Parallelism by Triads: Second Form, Closed and Open Variants (DROP 2)
The Harmonizing Triads in First Inversion:

2.2.1. Ionian and derivative scales

- continua alla pagina successiva -

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2.2.2. Ipoionic and derivative scales

- continua alla pagina successiva -

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2.2.3. Minor harmonic and derivative scales

2.3. Diatonic Parallelism by Triads: Third Form, Closed and Open Variants (DROP 2)
The Harmonizing Triads in Second Inversion:

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2.3.1. Ionian and derivative scales

2.3.2. Ipoionic and derivative scales

- continua alla pagina successiva -

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2.3.3. Minor harmonic and derivatives scales

- continua alla pagina successiva -

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3. Harmonization of Non-Diatonic Notes: Chromatic Parallelism

For the harmonization of the so-called non-diatonic notes (approach or transition notes) [3–5] it is possible to use the Chromatic
Parallelism technique [2]. Quite simply, the harmonization of the non-diatonic notes turns out to be nothing more than the
transposition, to the upper or lower semitone, of that used for the note on which the melodic resolution occurs.

3.1. 2-Voice Harmonization: Chromatic Parallelism by Thirds and Sixths

As an example of the use of Chromatic Parallelism in 2-voice harmonization, the underlying staves are shown, constructed
considering, as reference scales, the Ionic of C, harmonized by Diatonic Parallelism. The letter "m" indicates the adoption of a
Minor Third Interval; the letter "M" indicates the adoption of a Major Third Interval.

Example 1 - Harmonization by Thirds: Chromatic Scale in Ascending and Descending Motion

Note how, with the same non-diatonic note, the Thirds used in Chromatic Parallelism (the Thirds used in order to harmonize the
notes not belonging to the Ionian C scale) may differ in direction. As an example, the non-diatonic note D# ≡ Eb is harmonized, in
the Ascending Direction, by using a Minor Third Interval: the aforementioned note, in fact, melodically resolves on the Mediant
(E), harmonizing with a Major Third Interval. In contrast, in the Descending Direction, the non-diatonic note Eb ≡ D# is
harmonized by using a Minor Third: this time the non-diatonic note, in fact, resolves melodically to the Supertonic (D),
harmonizing with a minor third.

Example 2 - Harmonization by a Sixth: Chromatic Scale in Ascending and Descending Motion

As for the thirds, the sixths used in Chromatic Parallelism (the sixths used in order to harmonize the notes not belonging to the
Ionic scale of C) may differ, with the same non-diatonic note, in two directions. As an example, the non-diatonic note C# ≡ Db is
harmonized, in the Ascending Motion, by using a Major Sixth Interval: the aforementioned note, in fact, melodically resolves to
the Superatonic (D), harmonizing with a Major Sixth. In the Descending Direction, on the other hand, the non-diatonic note Db ≡
C# is harmonized using a minor sixth: this time the non-diatonic note, in fact, melodically resolves to the tonic (C), harmonizing
with a Major Sixth.
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 March 2020 Volume 7, Issue 2
3.2. 3-Voice Harmonization: Chromatic Parallelism by Triads
As an example of the use of Chromatic Parallelism in 3-voice harmonization, the underlying staves are shown, constructed
considering, once again, the Ionic of C, harmonized by Diatonic Parallelism, as reference scales. For each of the harmonized notes
(for the sake of brevity in the Closed Variant only) we have chosen to report the corresponding Harmonizing Triad.

Example 1 - Harmonization by Triads in Root Position: Chromatic Scale in Ascending and Descending Directions

Example 2 - Harmonization by Triads in First Inversion: Chromatic Scale in Ascending and Descending Directions

Example 3 - Harmonization by Triads in Second Inversion: Chromatic Scale in Ascending and Descending Directions

Similarly to what has been observed for 2 voices, the Harmonizing Triads can obviously differ in both directions.

4. Outline of Harmonization by "Generating Major Triads":

If the piece to be arranged is characterized by a harmonic structure that can be defined using only Tertian Quadrichords (Seventh
Chords) belonging to the first four species, it is possible to adopt a harmonization technique that provides for the use of only
Major Triads [1]. The Ionian Scale, in fact, can be harmonized by exclusively exploiting, Triads built on the degrees of the
corresponding Plagal Cadence Formula: of course, these Triads are sufficient to guarantee the harmonization of the totality of the
derived scales, sometimes even with two possibilities for the same note. As an example, the Ionian of C will be harmonizable
using the Major Triads of F, G and C: consequently, the aforementioned Triads can be exploited in the harmonization of the
Dorian Scale of D, the Phrygian of E, the Lydian of F, the Mixolydian of G, the Aeolian of A and the Locrian of B.
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In the example below (in the Open and Closed Variants), it was once again chosen to make the Harmonizing Triads explicit.

In the presence of altered Dominant Seventh Chords, it is possible to resort to the so-called Upper Structure Triads [1], built on
Tone, Tritone, Quadritone and Sesquiquadritone (with respect to the Tonic of the chord). The following example table is proposed.
Dominant 7th Chords Alterations Major ReferenceTriads Any Additional Tension Notes

C7 #11 D (Tone) 13, 9

C7 #11, b9 F# ≡ Gb (Tritone) /
C7 b13, #9 G# ≡ Ab (Quadritone) /
C7 b9 A (Sesquiquadritone) 13

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Also in this case, the harmonization of any non-diatonic notes takes place by Chromatic Parallelism, following the simple rules
set out in the previous paragraph.

5. The Importance of Modes

For the sake of brevity, only the Ionian, Ipoionic and Harmonic Minor Scales have been examined here, including their respective
derivatives. In fact, a discreet arranger should be aware of at least 14 other heptaphonic scales (Major Harmonic and derivatives,
Double Harmonic and derivatives) as well as some very useful non-conventional eptaphonic scales, such as the Whole Tone and
the H/W Tone Scales [3–5]. Only in this way can the arranger be considered in possession of the minimum skills necessary for the
packaging, where required, of a truly "tailored" arrangement. In this regard, the very useful table below [6] is proposed.

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To better clarify the concept of "tailored" arrangements, the table below is shown.

Dominant 7th Chords Alterations Major ReferenceTriads Scales of Origin

C7 b13 C Mixolydian b6 F Ipoionian

C7 #11(b5) C Lydian Dominant G Ipoionian
C7 b9 C Mixolydian b2 F Harmonic Major
C7 b13, #11 C Whole-Tone (esatonic) /
C7 b13, b9 C Phrygian Dominant F Harmonic Minor
C7 #11 (b5), #9/b9 C Halftone-Wholetone (octatonic) /
C7 #11(b5), b9 C Oriental F Double Harmonic
C7 b13, #11 (b5), #9/b9 C Superlocrian Db Ipoionian

Evidently, depending on the alterations present, 8 different scales can be associated with the (C7) Dominant Seventh Chord (two
of which, indicated in red, are non-heptaphonic).

Clarifications

The work presented here, openly aimed at beginner musicians, must be considered purely introductory. A sufficiently exhaustive
treatment of 3-voice harmonization techniques should at least include, in fact, a reference to the so-called Quartal Triads as well
as to the Partially “Clustered” Trichords [2]. The application of what has been discussed for 3 Voices is strongly recommended
to the neophyte who may be involved in the drafting of 4 Voices arrangements, taking care to add, to the Closed Variant, the
Canto Note (the harmonized one) replicated in the lower octave, as the fourth voice. The drafting of a complete 4-Voice
arrangement, in fact, can rarely ignore the concepts of Tonicization and Substitution in the Fifth Species, evidently not addressed
here [7–11].

Acknowledgements

This article is dedicated to musician friends Andrea Belmonte, Luigi Serra, and Maurizio Intennimeo.

References
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[2] Dobbins, B. (2010). Jazz Arranging and Composing – L’Approccio Lineare (Italian Ed. by R. Spadoni). Italy: Volontè & Co.
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[9] Cataldo, C. (2018). Jazz e Sostituzioni Armoniche: Verso un Nuovo Formalismo - Jazz and Harmonic Substitutions: Towards
a New Formalism. Journal of Science, Humanities and Arts (JOSHA), 5(1). https://dx.doi.org/10.17160/josha.5.1.381
[10] Cataldo, C. (2018). Music Algebra: Harmonic Progressions Analysis and CAT (Cataldo Advanced Transformations).
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[11] Cataldo, C. (2018). Extreme Chord Substitutions: a Qualitative Introduction to CAT (Cataldo Advanced Transformations).
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