What’s My Job?
What’s my Job? What do I mean by that? It’s one way I look at writing a chart and today I’ll talk specifically how it applies to writing a jazz ensemble chart. This info is taken from a Zoom Clinic I recently presented to a group of High School students in Pennsylvania (PMEA District 6 - Jazz, Shout out to the 814!) “An Introduction to Jazz Arranging…” This is not meant to be a treatise on arranging, it’s just one way to think about writing, or maybe a different way…
Anyway, this is often how I think of it, there are things that need covered, jobs that need done…who (which section of the jazz ensemble) is best suited for that job? Are they available, could someone else (another section) do it better? That’s a lot of questions…let’s get some answers!
Here are some of the jobs that need done:
Melody - The Tune
Harmony - The Chords or Chord progression under the melody
Rhythmic Pulse - the Style / Feel / Tempo
Figures - Hits or Punches
Counter Melodies - Guide Tones and “Poor Man’s Counter Point”
Pads
Backgrounds behind solos
Each instrumental family in the jazz ensemble has it’s strengths and weaknesses, things they do well (and not so well) let’s take a look at some of those:
The Rhythm Section: The rhythm section sets the style, provides the rhythmic pulse, the harmonic “bed” of the chart and controls the volume or intensity of the whole ensemble. The rhythm section can provide everything…they really don’t need any other section….don’t be afraid to just write for the rhythm section alone!
The Saxes: The saxes can really do a lot! Melody, Counter Melody, Background Pads, They are the most technically flexible wind section in the ensemble and they need the least amount “rest” of all the winds. (Sorry Sax players)
The Bones: Melody, Counter Melody, Background Pads, Rhythmic figures (Hits/Punches) Least Technically Flexible of the winds. Provides solid punch and/or support in the middle register. Don’t be afraid to give the bones the melody ( just listen to the great Pete Myers chart on “Love For Sale” !) The Trombone section needs more rest than the saxes but less than the trumpets.
The Trumpets: (Fanfare Please!) Melody, Counter Melody, Rhythmic figures (Hits/ Punches) Pads (not too much) More agile than the bones but not as much as the saxes.The trumpets can add excitement especially when moving up in their register. The trumpets need the most rest of the winds, don’t beat them up, save them for when you need them. (Tip: I often consider where I want the trumpets to be register-wise at the high point of the chart, this often helps me decide what key the chart will be in.)
Let’s take a look at some of these jobs being done:
Saxes on the melody, Rhythm Section providing the harmony, pulse & style, The Brass doing punches ( 2x Only) and the Bones playing a “Pad” in bars 6 & 7.
Here’s another job that needs done and really adds a lot to a chart - Counter Melodies…
The Saxes have the Melody (4 up 1 Down) The bones are using “Guide Tones” as a counter melody. If you look at the harmony (The chord symbols in the rhythm part) you can see this implied. This works “as is” or can be a starting point for a busier line in the bones…or “Poor Mans Counterpoint” use your imagination.
Here’s an example of Poor Mans Counterpoint…
The Trumpets have the melody, the Bones have the counter melody. When the melody is “active” (moving) the counter melody is “static” (long notes) and the opposite is true as well! You can think of it this way…We’ve all heard a horn player play behind a singer…when the singer holds a note the horn player interjects something, when the singer is busy the horn player lays back. It’s like a conversation, the trick is to connect the notes you are using to make an interesting musical counter line that compliments the melody.
Pads…what are pads? Pads are something the Melody can sit on…like a nice soft pad on a chair. They add support to the melody, give confidence to a young soloist, and provide musical interest with out getting in the way. Speaking of that, the top line of your pads should be interesting…but not so interesting that they distract from the “Focus” (Melody or Soloist.) The best practice when using pads is to use contrasting instruments ( Brass vs. Saxes, High vs. Low) See the examples below.
Trumpet solo w/Sax pads - Alto Sax solo w/Trombones doing the pads….notice the top line of the pads…nice but not too nice:)
I think I’ll save background behind a soloist ( like an open for solos section in a chart - you’ve seen it “ BG’s 2x Only” ) for another topic…there’s a whole psychology behind those! As always, it’s more than just the notes!
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