The Pocket Herb - Jason DuMars Engraving

7
,
BEE POCKEEESRB
rTrha*aoohings
r
t
Of Eerb pomeroy
f
) 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
\
I
z)
_iTT_T
.,rh-.-v:r.i
aD.
iakes
i -z
Yf-7 takes Aeol ian
IJI
tr
)l
I
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
r raz.fani
fi
f*h
hol__J1V
.
-
/-r
iF
\r1-3f
I
\
+ 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)
I
--.
ii-r)
*
A l tered
t)
rt7 in i'iajor - trrt 07
+)
II7
t)
vJ_r_
/
a\
T'7
I
'$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!
r
I
-I
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-
h
^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 - -
I
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
a
,l\
2\
la:nrai ?
I
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 )
I
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
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)
r
^\
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
r
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-
7
B.tJo
(,n.o
':,r-.
(r-tr!r
t_1'TjJ
; C oMPL e r e :
__r_,
*...._.
f
\ , >i , r ' , 3 .,
,/'
i^r - .r r o-., c-.:.
.--\
A) 4t uP u t , , z t
i
, . r (\i t
S ctrL tg
Cl (,
"')
r* o?
\5
(b.na1t
y-7(sos)
p - (i,g)
t./
I
Lc.bt_\ lN- T t r . , .L \t:
C
(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 /'
a
(\.
CA \'LKL \ > L .
I
)l D€ !.1 r c y
F r T Lr . t o -\!
d .<
.'\-,.\--.."\--/'\-,14-
i-o
)t
A
) Ar'. *, - ' , : z ii . d t\? i
.
..
-
AtlS'-^ttL\
a c*L tg
/
\
t.7
u
0- r t us
)
,
..t-7
F i o)
r
4,..J-tt'"'
-\
V rt
)l '
a^c L ( - \ : L
%
c-7(b5) I:1('""\
D?
/G-
-f'
4
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 }
$o\L\,J
c S
Con'+
@-rt u<)
6
^_
9-t
=- l
n:'r
!!
liori-Dratolirc lR.IADsOYP. )r.,\!OiTfc ts;ss
(
\
'' I \
'.rni!.
I ja - r r i.'
..2
J-)
qf
- ^-4 !
^
I _l_
o - - r : l *:
v v:r ]
' l i.r a
.1 ^ .< <
rrninirr,:
tn..j
uv Irah
u
.I
T V JJ
tr\J
vc
I _i _ en-
uLaJ
i
!r r ,
nf
vt
fi pl n4-/
l$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
(
v
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)
I
- !4..1v '
choose trj.ad. trrat combined- !/ith
i r a a - rv4fr
]
_se
1n)
Lv
)
/r:r^.co
r:r-t
y4
v
saSS note
q
/' l
R a s s - L i n e i s n e l o d i c-n o
' l a =d
a
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-'.\-.,/'-
F
Q
?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
1
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'
d
t _- '
c-
B -tre)
Y1:a
3-)
l-l9
F.*tt
-a
a'l "
-4-
qlaN o- !
? 5 .', \ R L <
H - i 5r
5
oP D
)' , C-)
)_
to -\1
o?b
t
tr
T
\
'| l N l t]l ( .^/- ,/
l \,
i
s
*
I
9\6- G)
9 Dg 5
1
3
p !r (9"s-\
..
\\
\t
E;
7t-'l
\
lb 7Y-) cLJ^
l .!
,.>at
r ..
f
I
B
\:,/
lo -tt
a7 [q-1
$,e *1
)0..',
I
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!
I
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- |
r
--*
t
-
'+tW
'J'
1
/l
zr
__L
.'
r
-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
/
t
i
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
a
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
d
?.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
u
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
t
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
I
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
t
I
J
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
t
\.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
I
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
f
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
o
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-',.
I
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 ',
I
9tr,
D 1\
S OURCE OF NOTES:
I)
M :in r
n h nrrl
c
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 -
I
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
I
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 \ ,./
I
o
>,/
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)
I
n\
F)
G)
I
(b5)
3tr-
bIII \'
DV Itla j
uxo-sus
I
I
ALT
I
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.[g€ITI€Irt
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
a
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
a
^^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
f
J-
zl
Parts
3)
triads
4)
3 prt
5)
Change
by
^'.
r'.rm?i l a+a
Agaj.n break
line:
I
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
r
\:111, \0''1r
r G- \lr) P -
,
'l
Bb-ivD*u
[bc)
!-r
6r<-0-*
+z
I
^
I
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
v
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.