jazztrumpet.com
Guidelines for
additional reharmonization techniques in 3 or 4 horn writing
3 horns:
- There are 3 additional techniques for
3 horn (re)harmonization:
- Constant structure 4ths voicings:
notes are drawn from the mode of the moment; intervals
may be perfect 4ths (or not); avoid 3rds; beware of low
interval limits; avoid b9 intervals on major 7th chords;
ambiguous voicings (not containing chord sound 3 and/or
7) are best when following or followed by voicings
containing chord sound
- Inverted 4ths voicings: this type of
voicing contains a perfect 4th and a 2nd (major or minor)
between the top 2 or lower 2 voices; it is a respelled
4ths voicing; this may also be viewed as a
"closed" voicing in 4ths
- Cluster voicings: all adjacent
intervals are 2nds (major or minor); notes placed
immediately below the melody (no space between the top 2
voices); notes are selected from not only the chord
(tones) but also from the mode of the moment (all
available tensions); voicings may be incomplete (missing
3 and/or 7) as long as the chord sound is still implied;
these are effective for-tightly spaced voicings on the
low notes of a melody, background punches and higher lead
for brilliance; avoid clusters to harmonize an active 8th
note passage (the result is a blurred melodic effect).
- Listen to the masters!
4 horns
- Constant structure 4ths voicings:
notes are drawn from the mode of the moment; intervals
may be perfect or augmented 4ths (diminished 5ths); avoid
3rds but, if absolutely necessary, a 3rd may occur
between the top 2 voices; beware of low interval limits;
avoid b9 intervals on major 7th chords; ambiguous
voicings (not containing chord sound 3 and/or 7) are best
when following or followed by voicings containing chord
sound; in tonal contexts, "avoid notes" may not
be used, but in a modal context, they may
- Inverted 4ths voicings: these are best
used in context with voicings that contain all 4ths to
establish the context; this type of voicing contains a
perfect 4th and a 2nd (major or minor) between the top 2
and lower 2 voices; it is a respelled 4ths voicing where
2 of the voices have been displaced by an octave; this
may also be viewed as a "closed" voicing in
4ths
- Cluster voicings: all adjacent
intervals are 2nds (major or minor); notes placed
immediately below the melody (no space between the top 2
voices); notes are selected from not only the chord
(tones) but also from the mode of the moment (all
available tensions); if necessary, use a 3rd between the
top 2 voices (this will compromise the density but allow
for clarity; voicings may be incomplete (missing 3 and/or
7) as long as the chord sound is still implied; these are
effective for tightly spaced voicings on the low notes of
a melody, background punches and higher lead for
brilliance; avoid clusters to harmonize an active 8th
note passage (the result is a blurred melodic effect).
- Listen to the masters!