I've done quite a number of big band transcriptions over the years, and every time I do, I learn something new.
One of the things that is most evident to me lately is how the harmonic language of the 20's and 30's is ignored by just about every arranging text I've every studied.
The tune I've been working on the past few days is the Fletcher Henderson version of "You Rascal, You". It's in E minor. The tendency in just about every arranging text is to present the m7 chord as the preferred form for use in a jazz arrangement. All through the chart the m6 form is used; that is E-G-B-C#.
One of the other notable features is the ninths on dominant chords. I haven't found a single example in the last four charts I've lifted of a flat 9 on a dominant. They're all natural 9s. (e.g. B-D#-F#-A-C#)
Diminished chords are used quite frequently as passing chords, but never with any extensions. Four part level of harmony, max.
Three part harmony is quite common, especially in 20's charts. Augmented triads are frequently used in place of dominant 7ths. Mood Indigo is a great example of this.
I'm also surprised by the amount of drop 2 voicing that I hear in brass section writing. Normally in a modern big band, the brass section is almost always written in close position. With 7 or 8 players, it's difficult to open the voicing until the lead trumpet gets fairly high up. The older charts often used 3 trumpets and 2 bones, so the voicings open even when the trumpets are in the staff. Four part harmony with the melody doubled at the octave rules the day here. (e.g. an Em6 chord voiced down from the lead trumpet might be: G/C#/B/G/E) This works quite well, with the trumpets and trombones both in good ranges, and the 1st trombone doubling 1st trumpet.
Half-diminished, or m7b5 chords are scarce here too. Most of them are really momentary inversion of the tonic minor 6th chord, and never form part of a ii-V-i progression.
The saxophone orchestration is much more varied than our AATTB or SATTB.
I've encountered:
AATT
AATB
AAAT
AATT with the 2nd alto doubling bari
ATTB (very common on old Basie tunes)
SATB
SCAT (not what it looks like!)
CCCC
CCTT
CCAT
CATB
AAT
AAA
ATT
ATB
One of the other notables is the drumming. At times in older jazz arrangements, the drums will even drop out, emerging to play figures in the spaces between vocal statements. It seems clear that drummers got the habit of getting out of the way of singers and soloists.
I may get some of these things into postable examples one of these days, if anyone is really interested.
One of the things that is most evident to me lately is how the harmonic language of the 20's and 30's is ignored by just about every arranging text I've every studied.
The tune I've been working on the past few days is the Fletcher Henderson version of "You Rascal, You". It's in E minor. The tendency in just about every arranging text is to present the m7 chord as the preferred form for use in a jazz arrangement. All through the chart the m6 form is used; that is E-G-B-C#.
One of the other notable features is the ninths on dominant chords. I haven't found a single example in the last four charts I've lifted of a flat 9 on a dominant. They're all natural 9s. (e.g. B-D#-F#-A-C#)
Diminished chords are used quite frequently as passing chords, but never with any extensions. Four part level of harmony, max.
Three part harmony is quite common, especially in 20's charts. Augmented triads are frequently used in place of dominant 7ths. Mood Indigo is a great example of this.
I'm also surprised by the amount of drop 2 voicing that I hear in brass section writing. Normally in a modern big band, the brass section is almost always written in close position. With 7 or 8 players, it's difficult to open the voicing until the lead trumpet gets fairly high up. The older charts often used 3 trumpets and 2 bones, so the voicings open even when the trumpets are in the staff. Four part harmony with the melody doubled at the octave rules the day here. (e.g. an Em6 chord voiced down from the lead trumpet might be: G/C#/B/G/E) This works quite well, with the trumpets and trombones both in good ranges, and the 1st trombone doubling 1st trumpet.
Half-diminished, or m7b5 chords are scarce here too. Most of them are really momentary inversion of the tonic minor 6th chord, and never form part of a ii-V-i progression.
The saxophone orchestration is much more varied than our AATTB or SATTB.
I've encountered:
AATT
AATB
AAAT
AATT with the 2nd alto doubling bari
ATTB (very common on old Basie tunes)
SATB
SCAT (not what it looks like!)
CCCC
CCTT
CCAT
CATB
AAT
AAA
ATT
ATB
One of the other notables is the drumming. At times in older jazz arrangements, the drums will even drop out, emerging to play figures in the spaces between vocal statements. It seems clear that drummers got the habit of getting out of the way of singers and soloists.
I may get some of these things into postable examples one of these days, if anyone is really interested.
Last edited: