Contents. Introduction About the Chord Symbols Used in this Book.. 16

Transcription

1 Contents Introduction 7 out the Chord Symols Used in this Book 16 Loose Your Lie (and It Will Surely ind You) 17 Lead sheet 18 Score 22 Elegy 5 Lead sheet 8 Score 50 Seiernetics 7 Score 75 Song or Jaco 125 Lead sheet 126 eter Erskine on Song or Jaco 127 Score 129 Lo lame 15 Lead sheet 16 Score 17 rism 187 Lead sheet 188 Score 190 I Only I Had Knon 225 Lead sheet 226 eter Erskine on I Only I Had Knon 228 Score 229 Bulgaria 20 eter Erskine on Bulgaria 20 Lead sheet 21 Score 2 Closing Remarks 280 endix 285 Instrument Ranges and Transositions 285 rticulation and Jazz Inlection Symols 287 Glossary o Musical Terms 288 Discograhy 291 Biliograhy 29 out the uthor 29 5

2 Note: guitar and ass sound one octave loer than ritten Song or Jaco (Song or a riend) eter Erskine rr: Bill Doins Saxohones ist d li temo 6 9 M7 (reely) Bar D m11 D m M7 B 6 9 C add 9 J J E m7 Trumets Tromones Guitar cresc iano Drum Set 1995 ERSKO MUSIC or the orld This arrangement 2001 advance music GmH, Mainz When I arrange someone else s music, regardless o the style or source o the original, I usually retain the original melody and the essential harmonic rameork o the comoser hile decorating it in a ersonal manner Sometimes I might change the temo or rhythmic idiom i I eel that the original has something orthhile to say in a resh context But the original melody and asic harmonic rogression serve as a helul selimosed limitation or me, encouraging me to ind harmonic decorations and assing chords that convincingly suit the character o the original The arrangement then dras out details, extensions or sulots that ere clearly suggested y the music itsel, as oosed to orcing something onto it merely or the sake o originality or technical dislay In the case o Song or Jaco, eter s original as so eloquent and heartelt that I ust anted to translate that eeling to the ig and medium I decided that giving Jens Neuang s aritone saxohone the melody o the oening section ith ackground harmonies rom the tromones ould rovide a oignant eginning Beginning ithout the rhythm section saves an imortant color that ill underscore the start o the main theme later on 129

3 7 D m 9 D m M7 G # o 7addEG m9m7add E 1sus m 9 D m 9 B M9 M9 D 6 9 M7 Tts Tns Gtr dim n # # n no D S Brushes ȳ Because I liked the sound o descending thirds in the ass line, I let out the m 7 chord at the end o ar This also saved the irst aearance o m 7 or the strong cadence olloing the G #07 chord in ar 9 Otherise, I mainly colored eter s original chords ith the addition o extensions and assing sonorities in the inner lines The only ovious deviation rom the original as my decision to avoid returning to the C tonic chord until the irst measure o the main theme at ar 1 This decision also led me to avoid the C tonic chord in the inal ar o the theme, saving it or the oening o the irst solo chorus at ar I intentionally omitted the imortant melody notes rom the tromone voicings, a ractice oten used y exerienced azz riters rom Ellington and Strayhorn to the resent This lends a secial quality to certain notes o the melodic line, as it lays a decisive role in clariying imortant details o the harmonic content I also take advantage o the ass tromone s lo register, hich rings clarity to the ass line until the entrance o the rhythm section By resolving the E 1sus chord like a sustitute dominant to Dm 9 in ar 11, instead o the /C in the original, the descending ass motion y thirds in ars and is riely recalled Instead o resolving the B M9 chord to C, hoever, I continued don a hole ste to M9, then in the circle o ourths to D M7, hich resolves like a sustitute dominant to the C tonic chord in ar 1 Creating a strong resolution to the tonic chord at this oint clearly dras urther attention to the oening notes o the main theme 10

4 1 1 Tt 1 lugelhorn C1sus (dynamics ad li) C 9 B m7add m75add Gm7add C1sus M7+5 add C D m 9 Tts Tns n Gtr no # n D S Y ter introducing the rhythm section and iano in ar 12, these instruments take over the role o accomanist in the oening section o the theme Continuing the tromone voicings through ar 1 makes an eective overla ith the rhythm section Sometimes eginning a ne section o a iece ith a sudden and clean change o instrumentation can e eective, and an overla o some kind simly oers an alternative erhas it as the solo lugelhorn s icku notes here that suggested the overla o the accomanimental texture lthough it is quite common or iano or guitar to imrovise the harmonic accomaniment to a ritten theme, there may e times hen the comoser or arranger inds seciic voicings and voice leading that seem esecially suitale Such as the case here The assing chromatic minor chord in ar 16 and the added C # in the M7 chord in ar 18 add a it o motion to the harmony ithout dearting signiicantly rom eter s original rogression In addition to coloring the chord, the C # suggests 7 aove the original ass note, moving to the Dm 9 chord 11

5 19 E E+5add B m11 B 1susaddD m11 D m11 22 Bar 6 9 M7 G1sus +5 add G C 6 9 1, 2 (sutone) T 1, 2 C9sus C 9 B n m11 D m11 Tts Tns Gtr no # n D S In ar 19 an E dominant voicing is interolated aove the ass note, resolving to the minor chord on eat our Raising the ith o the chord in ar 22 seemed to comlement the C # in the chord in ar 18 t ar 22 the ne hrase o melody seems to egin in the middle o the ar, olloing the concluding hal note on the don eat This suggested a ull saxohone chord on the doneat o ar 2, ith the aritone s icku underscoring the icku notes o the melody The iano overlas through the irst to measures o the saxohone accomaniment, ut the voicings gradually thin out to a single note at the end o ar 2 This is the irst entrance o the saxohone section, and it rings a distinctively ne timre to the second section o the theme Because o melodic leas and areggios, the melody o oth the aritone saxohone and the lugelhorn sometimes dis elo the to notes o the tromone or saxohone voicings This does not oscure the melody, hoever, as the accomanying instruments never move into a high register, here they ould attract more attention It is also helul i the lead line o the accomaniment has a melodic character o its on This suggests an additional contrauntal line in relation to the main melody and ass line Otherise, a harmonic ackground may egin to sound like a mere succession o chord voicings 12

6 25 n n J # G m11 C1sus C7+9 1 M E m 9 o M7 m7 D m 9 B m7add 7+9 D m 9 G79susG 79 0 # 6 9 M7 # lto 1 M7 Tts Tns # n# n n ## # # Gtr no D S (/) In ar 26, I decorated the maor chord ith the raised ith, resolving this dissonance steise to the sixth and, inally, to the loered seventh, a lue note in the key o C This also changed the chord quality to dominant, draing ust a it more attention to the resolution to Em 9 The 1 chord unctions as the tritone sustitute or B 7, the diatonic dominant leading to E The Em 9 chord in ar 27 unctions as a diatonic sustitute or C maor In general, I and III are the rimary tonic unction chords in maor and minor keys, hile II and IV are the rimary sudominant unction chords, hich oten return to tonic unction chords or move on to the rimary dominant unction chords, V 7 or VII 07 (hich is ased on the leading tone in oth maor and minor keys) I eter had used a C maor chord at the eginning o ar 27, the receding chord ould have created a lagal cadence (IVI) instead o the steise resolution he reerred lthough the Em 9 chord in ar 27 has a tonic unction, the note # is outside the key o C, hich is hy it sounds slightly dissonant or unresolved The simlest resolution ould e to the seventh o m 7 Hoever, I decided to add a voicing aove the ass note that suggests E 79 /, delaying the resolution to minor until eat our The # in the third tromone, then, resolves steise to natural and, inally, to E In ar 29, loering the ninth o the G sus chord changes the color o the harmony ithout giving aay the surrising resolution u to maor instead o ack to the exected C maor This ascending steise cadence as used earlier to return to the C tonic chord through a B maor chord in ar, ut moving to the key o maor rom a G 7 chord creates a much more dramatic eect, rightening or arming u the mood 1

7 1 # J # n Bar # # gliss ~~~~~~~ # Tts Tns Gtr D 6 9 Harmon (5) (/Tts) E 79 # # Dm 6 9 # # n C # m7 G # G m11 C 79 1 # n # # n M9 # m95 # n C 6 B B 79 1 # E m11 # n no # n # D S s I had decided that the solo trumet ould lay the melody o this section an octave higher at the end o the iece, it seemed aroriate to give the soloist a rest and ass the melody to the irst alto saxohone The trumets ith harmon mute add a counterline at ar 1 This counterline is most active hen the alto saxohone is holding a long note, until the to lines oin rhythmically ith the rest o the ensemle at the end o ar The resolution at the eginning o ar in eter s lead sheet suggested the D minor assing chord that I added on eat one The altered tones I added to the C 7 chord on eat our simly shado the melody as they resolve don to the ith and ninth o M9, also imitating the steise descent o the muted trumets I decided on a descending line to rovide contrast to the ascending motion o the alto saxohone in ars 0 ter the ass tromone moves into the lo register in ar, the aritone sax takes over this register in ar 5 The rest o the saxes oin in ar 6, resulting in a rich and ull accomanimental texture The descending hal ste in the third tromone at the eginning o ar 5 anticiates the loered thirteenth o the B 7 chord The C 6 chord ith B in the ass unctions as B 791sus, ith the motion in the lead tromone echoing the earlier hal ste descent in the third tromone ll these descending hal stes, including that o the melody in ar 5, sound like continuations o the steise descending line o the muted trumets 1

8 Tts Tns 7 # E 79 n # n m7add n C M7 G T 1, 2 # T i M7+5 add C 6 9 M7 E m 9 ~~ gliss o M7 m7 # n# n B 1sus 6 9 M7 cresc n, Í Tt 1 lugelhorn D M9+11 G Í cresc D M7 G cresc Gtr cresc no D S cresc cresc (/) The assing E 79 over on eat one o ar 7 recalls similar situations in ars 10, 19 and 27, ut the E lue note in the melody adds a resh detail Bar 9 recalls ar 27 in relation to the same assing color Likeise, the use o the raised ith o the maor chord in ar 8 recalls similar instances in ars 18 and 26, ith the C # resolving don to the ith in ar 18 ut u to the sixth in ars 26 and 8 The use o similar decorations hen a articular harmony comes u in a iece can clariy the mood or ersonality o the music, as long as it is not taken to a oint o excess or redundancy The counterline o the tenor saxes in ars 8 and 9 sutly echoes the lues color o the melody in ar 7 Because I anted to save the tonic C maor chord or the irst ar o the next chorus, I olloed the maor chord in ar 0 (similar to eter s m chord ith in the ass) ith D M9+11 ith G in the ass The chord ollos the circle o ourths to D hile the ass goes don a hal ste to G (V in the key o C) I also stretched out the last to ars o the theme to our ars, lengthening the chord rom to to ive eats and the susenseul D chord ith G in the ass rom our to nine eats D M9+11 ith G in the ass unctions here as a susended orm o a G altered dominant voicing The trumet voicings in ar 0 simly ascend steise in the E maor scale The steise ascent in ars 0 relates to the steise unison descent in ars 1 The use o natural instead o in the third trumet on eat one o ar 1 as intentional This assing dissonance rings a it more attention to the D maor chord ith G in the ass, the ocal oint o the theme s inal measures, hich leads to the imrovised solos Measures 2 are the irst in hich all rass and saxohones are heard together, ith ndy Haderer, the soloist, changing to lugelhorn or the imrovised solo 15

9 (1st time only) n n 1st time Tt 1 ; 2nd time Bar C 9sus C 7 B m7 m7 G m7 B M7 C M9 D m 9 Tts Tns Gtr C 6 9 M7 (1st time only) n n n n (1st time only) C 9sus C 7 B m7 m7 G m7 B M7 C M9 D m 9 Tacet 1st time, com 2nd time C 9sus C 7 B m7 m7 G m7 B M7 C M9 D m 9 no Com 1st time, tacet 2nd time J C 9sus C 7 B m7 m7 G m7 B M7 C M9 D m 9 D S J In the solo section I decided to give the aritone saxohone a chorus ater the solo trumet s chorus This as ecause o the rominence o the aritone in the oening section o the iece I also decided to share the coming eteen the iano and guitar In my exerience, it is imortant or the riter to clearly assign duties hen a and has more than one chord instrument This allos the layer ho is coming to eel relaxed and to give their ull attention to hat the music needs in terms o harmonic accomaniment and rhythmic decoration Otherise, the chord instruments ill all e laying, and even most sensitive layers ill e more inhiited and less clear aout hat to do than they ould e i their art simly indicates hen to com and hen to lay out It as eter Erskine s sontaneous idea to change the rhythmic eel ehind the aritone solo, and the rest o the rhythm section olloed him eautiully in develoing the accomaniment great rhythm section is orth its collective eight in gold, ecause they constantly surrise and insire everyone involved, including the riter and the audience, ith details that most riters ould never imagine On the other hand, a mediocre rhythm section cannot e heled much y utting more inormation on the age, no matter ho the riter is s ar as the harmonies themselves, I mostly used the asic changes rom eter s lead sheet, excet or occasional assing chords like the m 7 on eat our o ar 6 This aroach allos the soloist and harmonic accomanists to incororate occasional harmonic emellishments as they hear them Even hen dierent emellishments occur in the same measure, they ill ork together convincingly as long as they resolve to the ucoming chord o the asic rogression Both ndy and Jens layed exressive and lyrical solos that erectly it the mood evoked y eter s comosition 16

10 9 52 (lay oth times) 1, 2 T 1, 2 # # E m 9 M7 B m 9 D m 9 G 19 C 9sus C B m7 m7 Tts Tns Gtr E m 9 M7 B m 9 D m 9 G 19 (lay oth times) C 9sus C B m7 # m7 E m 9 M7 B m 9 D m 9 G 19 C 9sus C B m7 m7 no E m 9 M7 B m 9 D m 9 G 19 C 9sus C B m7 m7 D S The lead lines or the simle harmonic ackgrounds in the solo section ere develoed rom the ascending scale in the trumets in ars 0, and rom the melody o the theme in ars 26 and 27 The lead alto line ascends steise rom ar 52 through ar 56, hile the ass line moves steise in contrary motion 17

11 55 nn ẇ ~~~~~~ gliss # n cresc # 60 # # G m 9 C E m 9 m 9 D m 9 B m D m 9 G 19 M9 Tts Tns Gtr G m 9 C 759 lugelhorns (lay oth times) n n # dim E m 9 m 9 cresc n cresc D m 9 B m n # D m 9 G 19 # # # ## M9 G m 9 C E m 9 m 9 D m 9 B m D m 9 G 19 M9 no G m 9 C E m 9 m 9 D m 9 B m D m 9 G 19 M9 D S s the G, the loered ith o C 7, came u in the lead line on eat three o ar 55, I ket the C 7 as in ar 7 instead o sustituting G 7 The C elo makes the G sound much more colorul, ust eore the resolution to the maor chord The irst our notes o the lead lugelhorn line, eginning in ar 56, recall the melody rom ars 26 and 27, the corresonding measures o the oening theme or ackgrounds to imrovised solos I reer simliied or areviated suggestions o the theme to direct quotes The lead line in ars 5860 ascends steise through an entire octave rom E to E, the same octave through hich the unison trumets descended in ars 1 Having the trumets sitch to lugelhorns gives the entire solo section a mello character, roviding contrast to the righter sound o the trumets in the oening and closing sections o the iece O course, this is only a ersonal choice, ut the more ossile choices a riter is aare o, the roader a alette o sonorities ill e availale to exress the musical story in greater detail and deth 18

12 61 D 6 9 G # o 7 M9 G m 9 C 19 M9 # m75 B 79 1 E m 9 Tts Tns Gtr D 6 9 G # o 7 M9 G m 9 C 19 M9 # m75 B 79 1 E m 9 D 6 9 G # o 7 M9 G m 9 C 19 M9 # m75 B 79 1 E m 9 no D 6 9 G # o 7 M9 G m 9 C 19 M9 # m75 B 79 1 E m 9 D S The chord changes here are asically the same as those in eter s lead sheet 19

13 67 72 m 9 M9 # o 7 G m 9 M7 B 6 9 M7 G G 19 (Bar, 1st time only) Tts Tns Gtr m 9 G (2nd time only) # # (2nd time only) M9 # o 7 cresc n n G m 9 M7 B 6 9 n dim M7 G G 19 (1st time only) (1st time only) (1st time only) m 9 G M9 # o 7 G m 9 M7 B 6 9 M7 G G 19 no Com m 9 G M9 # o 7 G m 9 M7 B 6 9 M7 G G 19 D S The lead line o this inal ackground section egins and ends ith the dro rom B to G The lea in the middle rom C to the lue note, E, gives this inal section a much more somer character than the armer sounding B section at ar 60 The itches B, G and C reer, once again, to the melody o the theme in ars 26 and 27 Beteen the M9 chord in ar 68 and the m 9 chord in ar 69 I used some asic harmonic sustitutions The irst chord in ar 69 simly sustitutes one tonic unction chord or another: or Em 9 Hoever, olloing M9 ith #07 in order to lead to ith G in the ass creates a steise ascending ass line rom M9 to M7 ith B in the ass The ascending trumet voicings in ars 69 and 70 comle ment this ass line and rovide urther emhasis o the E lue note in ar 70 and the accomanying M7 chord ith B in the ass Because the solo section is reeated, I chose not to include the extension o the inal ars o the orm as heard in the theme, ut I still avoided the C maor tonic chord in ar 71 Hoever, instead o using a D maor chord ith G in the ass, as at the end o ar 0, I used more diatonic dominant voicings in ar 71 Only the second tromone adds a loered ninth to the G1 voicing ust eore the resolution to C maor at ar 72 Because o this harmonic simlicity, the chromaticism and increased harmonic motion o the coda in ars 9196 makes a strong imact 10

14 7 (2nd time only) 1, 2 T 1, 2 cresc Bar # n n Tts Tns Gtr C 9sus C 79 1 m7 m7 G m 9 C /(2nd time only) E m 9 cresc n M7 B 79 no C 9sus C 79 1 m7 m7 G m 9 C E m 9 M7 B 79 D S (2nd time only) The lead alto saxohone line in ars 7780 returns to the ascending steise motion heard in ars 5256 and 5860 I simliied the chord changes to one chord er measure in ars 76 and 77, so that the increased harmonic motion and chromaticism in ars 78 and 80 ould rovide maximum momentum leading to the oerul closing ensemle section, hich eatures the most dynamic solo trumet ork in the iece The guitar adds color to this closing ackground o the solo section o the iece, and continues to doule the unison saxohone lines in ars 8185 and This harmonic ackground also connects the closing measures o the ass solo ith the inal section o the arrangement I intentionally used only the saxes and rhythm section here, saving the rass or the climatic section that ollos 11

15 Tts Tns Gtr no D S 79 1 D m 9 G 19 D m 9 G 19 2 n n n Tt 1 Tt Í T Dm7add G 19 D m7 Bar 81 1, 2 T 1, 2 # # # Trumets ## # # J / # y y y cresc J 6 cresc 9 M7 # # # # J cresc cresc D 6 9 # cresc # # # # n# J E 79 # # n T 1, # J 2, Bar n (Lead) 6 9 n G m11c # # n # # n n # n n # n J # n J y The oerul tromone octave in ar 80, reinorced y the iano and drums, sets u the solo trumet entrance on eat our, so that each o the irst three eats o the measure are clearly enunciated olloing these constant quarter notes, the eighth note motion in ars 8185 adds urther momentum s ith the unison trumet counterline in ars 1, the saxohone and guitar counterline is active only during the sustained notes o the solo trumet The tromone yramids in ars 818 egin the eighth note motion in each o these measures The saxohones and guitar continue the ascending steise motion egun in ar 77, ith the thirtysecond notes draing attention to the arrival on the highest note,, in ar 8 This, hich is sustained in the loer octave ater the descending areggio, also adds a colorul tension against the E o the lead trumet Even though the solo trumet is not in an extremely high register, it is high enough so that a soloist ith a ig and eautiul sound can sing out clearly over the ull ensemle It is imortant to indicate any areas here a soloist temorarily leads the ensemle, as in ars 8 and 85 When indicated in this manner, the soloist ill lay in strict temo ith the ensemle and rerain rom taking rhythmic or melodic lierties that are characteristic o azz interretation y a soloist s the rass section s lead line ascends in ar 8, the unison saxohone and guitar line moves in contrary motion along ith the ass line, outlining the G triad that emhasizes the tritone color imlied in the altered C7 rass voicing on eat our 12

16 ~ ~ Song or Jaco Tts Tns Gtr M7 n n M9 # m115 # m75add # n # n # # # n # n # J # gliss # gliss () n# ~~~~~ B 79 1 E m9add # n m11 o M7 (Lead) n 1+11 G G m1 6 9 M7 nn n 6 ƒ ƒ ƒ n 6 # o 7ad dc# o o7addbo # C 6 9 M7 dim o 7addD og E7+99 G # E 1+11 m11 C # # # n n ä ä n dim n ä n n # # n # no D S J (Brass) # n # () J Û Û Û Û ƒ Û Û Û ƒ n # â # dim Û Û Û dim Û The shit rom solo trumet to trumet section at the end o ar 85 achieves to things at once It changes the color o the melody slightly and, more imortantly, gives the soloist a rest eore his climactic hrase, leading the ensemle in ars 8892 This tye o sitching eteen solo and lead roles can e heard in the est ork o most high note trumet secialists, rom Snooky Young and Cat nderson in the ands o Count Basie and Duke Ellington, resectively, to more recent layers such as Maynard erguson and Doc Severinsen ndy sounds magniicent in this solo assage In ars 8589 the instrumental texture shits ack and orth eteen rass and saxes This allos measures 8991, here the rass and saxes are all laying, to clearly estalish the high oint o the entire iece It also hels that the solo trumet sustains the high C and remains in the high register or more than a ull measure, instead o immediately leaing don to the middle register as the lead trumet did in ars 85 and 86 The saxohones ill u the ottom o the ensemle in ar 87 eore accomanying the soloist through ar 88 The harmonic decoration aove the ass note in ar 88 recalls a similar situation in ar 7 The assing chords eteen m 11 and M7 in ars 88 and 89 ere only used once in the iece, to set u the climactic oint The chord is tonicized through alternating minor and tritone dominant chords, moving don chromatically instead o through the circle o ourths (DG C) The last chord in ar 90 leads to Dm 11, not to M7 /B as in earlier choruses This is a harmonic hint that the iece is coming to a close 1

17 Tts Tns Gtr no D S 91 2 D m11 () G1sus D 9+11 C9susaddE D 6 M # m115 B (/Gtr) C19+11 T # /lto T Û Û,, n # # # # Y y y y E m 9 m9add E7+991 E 1 5 dim n # # # dim dim y y y y dim D 9+11 # n # n dim Y rit dim D 6 9 M7 Y C 6 9 M7+11 U n U Tt 1 harmon U # U U U n U U y U Z CMa7 +11 U Bars 91 and 92 lead to a rerise o the last hrase o the theme, unctioning as a tag or coda The harmonies tonicize the irst chord o this hrase at ar 9, 6/9 s the lead alto saxohone had stated art o the oening theme in ars 0 1, it seemed that the tag ould e a good lace to eature the saxohone section, ith Heiner Wierny s arm and lyrical tone, douled y the guitar, singing out on to The minor IIV in ar 9 oers yet another ay o reaching the Em 9 chord on eat one o ar 9 ter harmonization through the circle o ourths, the inal chord is aroached y a series o hal stes as the tromones are added to the texture harmon muted trumet voicing, adding a Lydian color to the C tonic chord, is olloed y a solo trumet ill This is the only lace here a C tonic chord is heard ith the last note o the melody, as indicated in eter s original lead sheet lthough I ound a dierent harmonic aroach to the inal chord, I retained eter s idea o a steise descending ass line One o the great things aout arranging another comoser s tune that attracts your attention is that, i you attemt to understand the idiomatic essence o the iece and remain aithul to it in your arrangement, you ill asor asects o the comoser s creativity that ill later maniest in ne orms and musical variants in your on ork rrangers ho immediately aly their on haitual tricks ill miss valuale oortunities to exand their musical vocaulary hile they gain unique and valuale insight into another artist s aroach to the creative rocess rranging Song or Jaco enaled me to areciate asects o eter s creativity that I could not have gotten to kno otherise I hoe that, someho, I also got something o Vince Mendoza through his inormal tutelage hile eter as orking out the details 1