Bandestration ing (Two Part Density) Density refers to the number of notes in a voicing, but does not include any note that is an octave duplication of one in another voice. The voicings in this chapter will consist of a Melody (Lead) line and one Harmony Coupling. A Coupling is a part that accompanies the Lead line in relative motion. It normally keeps to the same rhythm as the lead, but can on occasion stray into a contrapuntal style suggested by the harmony. Couplings serve to thicken the Lead Line. In 2 part writing the harmony line is as melodically important as the top line and should follow some simple rules of melodic progression in order to make it sound natural and satisfying. 6.01 - Leaps ‘A sudden leap is followed by smaller steps in the opposite direction. Sarees : 3‘ Leap’ Leap Scale Scale =a oe) 6.02 - Magnetism of ished and Augmented Intervals Diminished Intervals Capture the next note. Augmented Intervals Repel the next note. Py tr player eas Though all these rules are often ignored in... 6.03 - Sequences Dim. 6.04 - Chromatic Progression Where the chromatic note shares the same line/space as the previous note. 6. Voicing (Two Part Density)——— Bandestration 6. imple Duet The most satisfying intervals between Melody and Coupling are Major & Minor 3rds and 6ths. Although these intervals are considered consonant, they are less consonant than Perfect intervals (Sths, 4ths & octaves) which sound bland and empty, but less dissonant than 2nds & 7ths. This middle ground makes them the least offensive of harmonies. Augmented and Diminished intervals, though most often being the enharmonic equivalent of consonant Perfect, Major & Minor intervals, also tend to sound dissonant. Avoid using the Added 6th note in the Tonic chord (see bar 1] below) as a harmony note, except possibly as a passing note. This interval tends to make music in the Major key sound as if it has suddenly jumped into the Relative Minor mode. F Em7lhy a7 7 Db v gil Gr coc? claim)? sO Ny’ The first thing to notice is that Melody & coupling are contained within the space of one octave. The overall effect is that the Harmony line follows the Melody in relative motion, apart from the fact that it alternates between the interval of 3rd & 6th. This interval is largely dictated by availability of a suitable harmony note, but can also be the result of choice. In bars 1 & 2, the melody note and chord are the same, but there are 2 harmony notes (Root & Sth) that will provide a good interval against the 3rd in the melody. To provide a contrast of motion I have used both these notes, one in each bar. Also in bar 9, melody and coupling could have followed each other all the way at the space of a 3rd, but as I had a choice of harmony note in the C7 chord, I again created some contrasting movement in the bottom line. Contrary to this solution, in bars 7 & 8 the melody leaps a Sth downward. Instead of sheepishly following this pattem, I have allowed the 1 1th of the G11 chord to resove naturally to the 3rd in the G7 chord and by doing so, have smoothed out the harmony line, again adding contrast of motion to the duet style. In bar 3 we have a case where there is no harmony note available that will make our preferred interval of 3rd or 6th with the melody. The melody note (11th of the chord) acts as a substitute for the Sth, so the available harmony notes are E, G & D. Looking to the next bar we have a C? (3rd of A7) as our only choice of harmony note, The chords in bars 3 & 4 are a II-V progression in the temporary key of D. The 7th of Il naturally resolves to the 3rd of V, so the obvious choice of harmony note in this case is D (7th of the Em7,11 chord). The above sketch could be orchestrated for any two instruments in Duet, but equally well for any number of instruments on each line. 6. Voicing (Two Part Density)Bandestration Tenors Baritone (opt) The above segment might have been scored with 2 Altos on the top line and 2 Tenors on the bottom, but in duet style, where both lines command equal importance, it was decided to blend, rather than contrast them. Placing 1 Alto & 1 Tenor on each line achieves this goal. , Ifa Sth instrument is used, more weight should be placed on the Melody line than on the Harmony. In this case, an optional Baritone part doubles the Melody line an octave lower. Although this results in 3 lines of music (Melody and 2 Couplings), itis still regarded as having 2 Part Density, as the 3rd line is merely an octave duplication of the Melody. 6.07 - Harmony Above Melody The second line in duet style is of such importance, that it is often scored Above the melody line (Barber Shop style). So long as the players maintain a good balance between the two lines, this proceedure works well. Harmony Sketch] Melody Altos a. Tenors Bari (opt) To ensure that the melody does not sound weaker than the harmony line, I have placed Tenor 1 (presuming that this is the stronger player) on the melody line below Tenor 2. The key was carefully chosen to keep the 2nd Tenor within its comfortable register (? 3.05). 6. Voicing (Two Part Density)Bandestration 6. ssonance in Two Part Writing Ifit is necessary to use dissonant intervals between melody and harmony, ensure that each dissonance is followed by a resolution, Fae F Em!! a De DY v Siebert Gn’, cr Fy e Dissonances of 2nds & 7ths can resolve by one note staying put and the other moving one step so that the resulting interval between voices is a 3rd or 6th (see above, bars 1-2, 3-4 & 10). ‘Analternative method of resolving a dissonance of a 2nd is to descend a 2nd in the bottom line and ascend a 4th in the top line so that the notes come to rest a 6th apart (see bars 4-5). Similarly, a dissonance of a 7th can resolve to a 3rd in inverted fashion. The Diminished 4th Interval in bar 6 resolves smoothly to a 3rd and the Augmented 4th in bar 9 to a 6th. In short, Diminished Intervals & 7ths Attract. Augmented Intervals & 2nds Repel. In bar 11, there are two notes of the melody which are harmonised by bland sounding Perfect Intervals, the 9th of the chord is accompanied by the Sth and vice versa. This is probably a throw back from the days when brass instruments had no valves, being limited to playing whatever harmonics were available on their particular instrument. The technique still works well today and sounds natual on an unaccented beat in an arpeggiated situation such as above. ‘The above sketch would be scored in the same way a Ex. 6.06 6.09 - Contrapuntal Harmony Voice Fae En! ” Sketch] Altos Tenors Bari (opt: 6. Voicing (Two Part Density)Bandestration 6.09 - (continued. 7, 9. 7 An? 4 DH y Dm’ le a Gm’f, cls cr Fsus Sm, Tovar F In this example, although the 2nd Voice is basically a coupling, it suggests a contrapuntal style. Thave created movement in the harmony line by arpeggiation and the use of passing notes. Notice how the 2nd line moves when the melody is stationary and vice versa. As we now have two contrasting parts, it is more effective to colour the orchestration accordingly. I have achieved this by placing both Altos on the melody line and both Tenors on the harmony line. ‘The Baritone can again make an optional 3rd Line by doubling the melody an octave lower. 6. Voicing (Two Part Density)Bandestration ‘10 - Double Duet Let us finally take another look at our sketch in 6.05 and expand its range. In Ex.4.15, we saw how we could double a Unison line in octaves, and throughout this chapter we have see how the melody line can doubled in the octave below. ‘We now extend the range by doubling both voices of the Duet in another octave. Sketch Sopranos Tenors Bari (opt) This time we have the two Alto players doubling on Sopranos (though this may not always be an option in the Big Band). Adding the Baritone on a third melody line gives us a full two octaves of compass. Pick some tunes from your fake book and score them in duet style. For 2 instruments. For the whole section. 6. Voicing (Two Part Density)SS Ee = za ee eS eee Bandestration Voicing (Three Part Density) We now have Melody and 2 Harmony Couplings. This style of voicing is used in smaller bands, but could also be useful as a contrast to the usual thick style of Big Band voicing, To sound complete, every voicing should contain the 3rd (or suspended 4th) of the chord. A Seventh chord would normally contain the 7th to justify its character, but may be sacrificed in the interests of improved voice leading and articulation in the harmony parts. Ifa third note is still required to complete the voicing, the Sth of the chord is usually preferable to the Root, as the latter would be sounded in the string bass part. The Sth would also offer less harmonic tension than the Root when combined with the 7th of the chord. It will be seen in the following example that most of the voicings are triadic in their construction. ! My comment in 6.05 regarding the Added 6th Interval applies just as importantly in 3 part writing, Z. Three Part Density Far F a v wo? Sketch es ——— Altos Tenor gil @ cl? cll cs oF The above is orchestrated for a small dance band sax section. In bars 6 (D+), 9 (C?) & 10 (C®), the 7th of the chord was sacrificed to reduce the need for reiteration of notes in the harmony lines, thus producing improved melodic flow and legato style in those parts. 7. Voicing (3 Part Density)Bandestration 7.02 - Open Voicing "Open Sketch! Alto Tenor Baritone} ‘The voicing here is opened out by dropping the 2nd Line of the voicing in 7.01 one octave. Notice the different instrumentation used in this example. In some small bands, the 2nd Alto Sax player will double on Baritone, making Open voicing more practicable. Widening the voicing this way gives the impression of a larger orchestra. Now notice that between bars 7 & 8 the voicing changes from Open back to Close. Notice how this smoothes out the voice leading in the harmony parts. The change is made at a point where there is a downward leap in the melody line. A change from Close to Open can also be made when there is an upward leap in the melody. 7. Voicing (3 Part Density)Bandestration 7.03 - Contrapuntal Harmony Lines coo C7 Bm? Elo? Sketch| Soprano Alto Tenor 7. Voicing (3 Part Density)Bandestration 7.03 - (continued) 7 9 T 3 7 oe. og 6 Ce wee + z: =D: et et eae —— Se = oe = 2 t+ ws — As all the parts in this sketch have an air of independency, I have chosen three instruments with contrasting sounds. Notice in bar 8 how the Alto on the middle voice momentarily hangs above the Soprano on the melody line. Also in bars 8-9, this same instrument drops below the Tenor line. This was done to preserve the continuity of the inner parts. Although not shown in any of the examples in this chapter, a fourth instrument could be written to double the melody line an octave lower. I will leave this choice to your imagination. Score some tunes from your fake book in 3 part density. 7. Voicing (3 Part Density)