Orchestra conductors make it a habit, band directors are committed to it, string quartet members are obsessed by it; why should jazz ensemble directors habitually ignore it? I refer to the practice of detailed score analysis in preparation for rehearsal. This essay proposes to establish a framework and provide "tools" for jazz ensemble directors to make a detailed examination of each chart before rehearsal. It is not necessary to work each sonority of the composition through these techniques -however, through examining the piece prior to rehearsal we can anticipate the trouble spots and be able to develop effective techniques to correct them, more effectively using rehearsal time.
Work from a full score whenever possible. When a full score is not available, it is very helpful (especially for concert or contest piece rehearsing) to synthesize a score from the individual parts. While this is time consuming, it allows for you to enter into the music and understand the total picture. The first step in analyzing a jazz chart is to ascertain the over-all form of the work. Identify into which category the piece falls:
Next, identify inconsistencies in the form such as introduction, key changes, interludes and codas. Then look to the body of the chart to see from where the melodic/rhythmic/harmonic elements involved in the introduction, coda, etc. have come. At this point you will have a good idea of the shape and direction of the piece.
The next step then is to identify the "punch line." Since almost all good jazz compositions are in a narrative form, it is vital that the climax of the work be perceived by the listener as the "punch line." To do this, look for densities (number of instruments playing) and intensities (dynamic levels and registers of those instruments) within the work. While some very good compositions and arrangements (notably Kim Richmond's Stella by Starlight) do not have the climax at the moment of greatest density/intensity, most do. When the density/intensity search does not reveal the true "punch line," other factors must be considered. Look for melodic direction, harmonic motion and/or intensity, and rhythmic power to find the "punch line."
Many pieces have several moments of seemingly equal density/intensity and it is up to the director to identify which of these moments is most important to the form of the work, then highlight the most important climax by tempering dynamic levels in the less important sections. (Clue - the most important climax is often found near the end of the piece). Failure to recognize and deal with these elements of form lead to one of the most common problems of jazz ensemble performance - dynamic monotony.
When previewing the score, spot-check lead parts to make sure articulation markings and dynamic levels are consistent to the score. If they are not, or they are ambiguous, make corrections in these parts before the first rehearsal. Also important is the recognition of countermelodies an harmonic padding. These will be discussed separately.
One of the first and most important things to understand about voicings is that no matter how the sections (Trumpet, Trombone, Saxophone) are relating to each other, they must also sound good by themselves. Bearing this in mind, we will now examine several common voicing techniques and rehearsal techniques to achieve their correct sound.
Brass Voicings in "Four Part Basie Style"
A common voicing technique is to voice the Trumpet section on a particular chord and double the Trombones at the octave below. See Figure 1.
Fig. 1, Basie Four Part Brass voicing.
To achieve a good sound, rehearse each section separately, tuning and balancing the section so it has a good sound by itself. Then tune the octave unisons (i.e., 1st Trumpet and 1st Trombone) to remove the "buzzy" sound during ensemble playing. Next play together and blend the sections, not allowing the particular range or ease of playing in one voice to cover the other voices (e.g., don't let the 1st Trombone cover the 4th Trumpet).
Brass Voicings in "Added-note" Basie Voicings
Since Basie style voicings rarely contain altered extensions (i.e., sharp and flat 9's, sharp 11's, and flat 13th's), the diatonic tones in the relative functional key are those most commonly added. Those "added-notes" are listed below with the chord-type with which they are used.
| Chord Type | Added-notes |
| Major 6 and/or 9 | Major Seventh 9 (occasionally#11) |
| Major-Minor | Seventh 6 and/or 9 |
| Minor-Minor Seventh | P4 or 9 |
| Diminished-Minor Seventh | occasionally P4 |
In the Basie "added-note" voicings the Trumpets are usually voiced on the triad tones with the Fourth Trumpet doubling the First at the octave below. The Trombones carry the added tones and (most importantly) the 3rd and 7th (or 6th for Major chords or flatted 5th for Diminished chords) of the chord. See Figure 2.
Fig. 2, Basie "Added-note" Brass Voicing
As before, it is important the each section have a good autonomous sound, so begin by tuning the 1st and 4th Trumpets to a true octave. Next, add the other chord members in the Trumpets, making sure that the 3rd sounds true ("buzzy" sounds occur if the Major 3rd of a Major Chord is too high). Then move to the Trombones, tuning the chord tones (3rd and 7th) then adding the other notes. Before combining and balancing the two sections, tune the octave unisons between sections (i.e., 2nd Trumpet and 1st Trombone).
Saxophones in Basie Style Voicings
The upper voices (Altos and Tenors) of the Saxophone section are usually voiced either one of two ways:
Fig. 3, Saxophone and Brass Voicings in "Added-note" and Four Part Styles
The Saxophones should also sound good alone. Again, tune the Saxophones together, then with their appropriate unison voice (i.e., 1st Tenor and 3rd Trombone, in "Added-note" voicing in Fig. 3). The Baritone Saxophone is often left alone to play the root of the chord. Have the Baritone play out dynamically and even tune the pitch with the piano to assure that there is a solid foundation on which to build the other voices.
Brass Voicing in the "Thad Jones" Style
The autonomy of sections in Thad Jones Style Brass voicings is still of major importance, but can be approached in a slightly different fashion. In this style of harmony there are an increased number of altered extensions involved in the voicings. These extensions most commonly occur in the Trumpets and produce a bi-tonal effect. See Figure 4.
Fig. 4, "Thad Jones" Style Brass Voicings
The Trombones commonly play the root (in the 4th Trombone, a deviation from the Basie styles), 3rd and 7th of the chord. If an altered pitch occurs in the Trombones it is usually included in the 1st Trombone with enough distance from the root to allow it to sound without being muddy. The Trumpets are voiced on the upper extensions of the chord either in Basie "added-note" style (1st and 4th doubled at the octave) or in a closed four-part style. Note that Fig. 4 denoted the "separate" tonalities of each section that function together to form the true chord sonority. The procedure for tuning this sonority is the same as the Basie "added-note" voicing. However, particular care should be taken that the 3rd and 7th of the chord sound, so as to convey the functional nature of the sonority. Attention should be given to the 4th Trombone in much the same way as the Baritone Saxophone was treated in the Basie styles.
The Saxophones in "Thad Jones" Ensemble Voicings
The Saxophones again should have a good sound by themselves. The Saxophone section usually contains important chord tones (3rd and 7th) and other chord members. The Baritone Saxophone usually does not play the root, but doubles the second or third Trombone (depending upon the register of the Saxophone voicing). Two important points about the Saxophones are:
Fig. 5., Saxophones in "Thad Jones" style ensemble voicing.
The procedure for tuning and balancing is the same as in the Basie voicings with three additional points to consider:
Dynamic levels are an added consideration in this voicings style due to the power of the Trumpets voiced relatively high, on essentially separate chords. In the forte passages, important chord tones (1, 3, 7) should be brought up to convey the tonality. And conversely, in piano sections the other voices should be brought down to balance the sonority. A quick method to discovering possible intonation/balance problems in a Thad Jones style voicing is to search the piano part for altered chords and then compare to the ensemble voicings for potential problems.
Harmonic padding may occur in any section but most commonly appears in the Trombone or Saxophone sections. The most obvious observation about padding is that it is padding, and should not cover the important melodic event that it is meant to support. In attempting to fix the correct dynamic levels of the padding, it is important to consider the instrument or instruments that the padding is supporting. For example, if the Trombones are providing padding for a Saxophone solo their dynamics should be tempered, but if the Saxophones are padding a Trumpet solo, they can generally play out a little more so that the chord changes can be perceived. Of course, this is totally dependant upon the relative strengths of the players and the musical situation. Yet it is strange how many bands play padding at inappropriate dynamic levels, either too loud or too soft.
It is common sense that the padding should be in tune and move with rhythmic precision, but it is sometimes difficult to achieve this. Often players do not support the sound well at lower dynamic levels, causing intonation problems, and rhythmic precision also suffers when playing lines that move slowly. To correct these problems, rehearse the padding separate from the soloist and the rhythm section and strive for good tone, intonation, and balance. Have the players mentally sub-divide the beat to improve rhythmic precision.
Although the padding should always support the melodic event, the padding itself sometimes has internal melodies. Bring out the moving lines to add harmonic/melodic interest by shading the dynamic of static voices (become "transparent") and have the moving lines become a little louder and give them dynamic shape until those voices return to a static role.
The first step in approaching melodic analysis is to ascertain where the melody is in regards to the form of the work and the instrumentation of the melody. Judge the melody's character in terms of rhythmic feel, articulation, and dynamics and adjust these elements so that the melody conveys the composer's intent. Next, look to the instrument or instrument pairings and work to balance with each other and within the total ensemble. Pairings such as Muted Trumpet and Soprano Saxophone, Trumpet and Alto Saxophone, etc. are fairly common, and the two voices should be balanced to achieve a "synthesized" timbre. Also, be aware of soft instrument pairings (i.e., Harmon Muted Trumpet and Flute) and don't allow them to be covered by harmonic padding or the rhythm section.
Also of import in considering melodies is whether it is a unison statement or harmonized melody. Unisons should, as a rule, be tempered dynamically for two reasons:
Recognize these harmonized sections and have the ensemble play slightly louder there to avoid a decrease in dynamic intensity. In a contrapuntal style the melodies must be shaded to allow each statement to be heard. The first entrance of a particular melody is the most important and should be played out dynamically. When other melodies are layered in, the first melody or melodies should come back dynamically to allow the new statement its momentary prominence.
In countermelodies it is also important to identify important (i.e., long) simultaneities which occur between the separate lines. Identify these intervals and tune them in context. You may refer to Page 1 of the score of Midnight Run. In Midnight Run by Bill Holman (arguably one of the best composers of contrapuntal jazz score) we see the first melody introduced by the Trombones (mm. 1). This melody is marked "mf" and should be interpreted as a mezzo forte ensemble dynamic, each Trombonist should play softer than a mezzo forte (since they are playing unison) and strive for perfect intonation.
As the Saxophone and Trumpet melodies enter (mm. 5), the Trombones should play slightly softer to allow the new melodies to be heard. Also note that the ensemble dynamic is still mezzo forte and the unison Saxophone and Trumpet lines should also be tempered dynamically for the same reasons as the Trombones were on their entrance.
Because of the descending chromatic line, the Trombones will have a tendency to play increasingly flat. Make the section aware of this and drill them slowly to achieve unison intonation. This flatting tendency will make intonation on the Db in mm. 7 a problem. Further compounding the problem is the long interval (m3rd) sounding in the 3rd and 4th beats of mm. 7 between the Saxophone (Bb) and Trombones (Db). Once the intonation in the Trombone line has been cleared up, rehearse the Saxophone to achieve correct intonation within the section. Then rehearse the two sections together, holding the 3rd beat of mm 7 to correct for intonation and balance.
Another possible problem is intonation between the Saxophones and Trumpets in mm. 8. In this case the m3rd interval is inverted, as a M6th sounds (Ab in Saxophones and F in Trumpet). Rehearse the section in the same manner as prescribed above. Similar areas of intonation problems between the Trombones/Trumpets and Saxophones, respectively are:
When the intonation problems have been addressed, move to style and articulation. Rehearse each section separately to correct any phrasing problems (i.e., Saxophones not playing the 2nd beat of mm 7 staccato). The combine two sections at a time to assure that the rhythms are "playing off" each other.
Too many times in an effort to get the horns of an ensemble to perform all of the correct rhythms, notes, articulations, intonation and balance, we forget to work sufficiently with the rhythm section. This, to me, is like operating on the speech centers of the brain as the patient dies of coronary arrest! The rhythm section really is the heart of the jazz ensemble, and a little score analysis prior to rehearsal can take care of problems that may otherwise plague an ensemble form first rehearsal through performance.
The first step is to make sure that the correct instruments are specified in the rhythms section parts and that the players know how to perform on those instruments. There is a difference between an electric piano and an acoustic piano, and electric bass and an upright, etc. If the players do not have the appropriate instruments (e.g., no acoustic bass), encourage them to experiment with tone control settings and pick-up placement to achieve the most appropriate sound possible. If your ensemble does posses the correct instruments, make sure that they are amplified correctly and effectively or the benefits will be lost.
Next, check that all tempo, tempo changes, "feels" and "feel" changes are correctly marked in the parts and in the score (you will have to spot-check individual parts prior to rehearsal to find out). Also specify particular types of playing styles to those players who are not already familiar with the styles (i.e., "Elvin Jones Latin," or "Freddie Green Guitar"). Encourage your rhythm section members to listen to the great players of their instruments from the complete jazz spectrum.
It is essential that the rhythm section parts (especially the chording instruments) reflect any altered notes that appear in the ensemble voicings. A muddy sound will occur, for example, if the chording instrument happens to voice a dominant-ninth chord as the ensemble is sounding a dominant-flatted ninth. Written lines for the Rhythm section are more and more common and are important to the timbral vision of the work. Identify important written lines and rehearse them separately. Then perform them with the ensemble to achieve correct balance and phrasing.
Also check for ensemble kicks, fill, punches and dynamic, and if they are not marked in the parts, put them in. A drummer failing to set-up a brass punch can take the excitement out of the punch by making it more difficult for the ensemble to perform it precisely.
The Rhythm section, and especially the drummer, control the dynamic level of the ensemble If their parts do not include dynamic markings, write them in. Then rehearse the Rhythm section separate from the horns to assure that they exaggerate dynamic contrasts.
As an aid to rehearsing the spots that you have analyzed as being troublesome, it is important that you have a solid grasp of instrumental techniques.
For Brass, be able to suggest alternate fingers/slide positions that will help intonation or aid in technical facility. Also be aware of the different mutes, their effects on intonation and subtleties of timbral variation (i.e., Harmon Mute - Stem Out). Also know how mutes can be substituted, for example if your Trombones do not have "hats," they may play directly into their stands to simulate the effect.
For Woodwinds, a knowledge of the basic tone production concepts of Flute an Clarinet, as well as Saxophone is essential. Know what the intonation characteristics are for different instruments, especially in extreme registers and dynamic levels, and how to correct for those characteristics.
Play the Drums! This helps your time and allows you to suggest and demonstrate basic concepts such as brush techniques and general "swing" feel to an inexperienced player.
Know the role of the Bass in a variety of styles and be able to (at least) explain how to construct a cogent Bass line.
Be aware of voicing techniques for Piano and Guitar so that you can explain and demonstrate the notion of added-note voicings to your players.
Although these procedures are time consuming, experience has convinced me that touching on even a few of these points can make rehearsal run much smoother, enlighten your ensemble members as to how the music works, and in the end provide and improved performance at concert time.
© Malcolm Lynn Baker, 1993
Malcolm Lynn Baker is the Director of Admission and the Director of the Jazz Studies and Commercial Music Program at the University of Denver's Lamont School of Music.