Composing for the Jazz Orchestra

William Russo

• Publisher: University of Chicago Press
• Year: 2015
• Print ISBN: 9780226732091
• eBook ISBN: 9780226353463
• Topic: Media & Performing Arts
• Subtopic: Jazz Music

"Although it will be of primary interest to those who are engaged in composition themselves, [this] book is also recommended for readers who may wish to gain further insight into just what makes jazz composition so different from traditional approaches."—Malcolm Bessom, The Music Magazine

1

ALPHABETICAL CHORD SYMBOLS

The phrase “alphabetical chord symbols” refers to a musical shorthand which is used to represent chords. It is similar to the system of Roman numeral notation used in traditional harmony except for the use of capital letters (A, B, C) rather than Roman numerals (I, II, III).

A. The alphabetical letter indicates the root tone upon which the chord is built. A letter without any number indicates a triad, which is a chord extended up to the third and fifth. Unless otherwise indicated, the third is major and the fifth is perfect.

1. A minor third is indicated by the abbreviation “min.”

2. “+5” or (better) “♯5” at the end of the symbol indicates an augmented fifth. It is best to inclose this indication in parentheses.

3. “−5” or (better) “♭5” at the very end of the symbol indicates a diminished fifth—also best inclosed in parentheses.

4. A small circle or “dim.” after the letter indicates a minor third and a diminished fifth.

B. The Arabic numeral “6” indicates that the major sixth is to be added to the triad. The Arabic numerals “69” indicate that both the sixth and the major ninth are to be added.

C. The Arabic numeral “7” indicates that the minor seventh is to be added to the triad.

1. A major seventh is indicated by “maj.” or “Maj.” placed after the alphabetical letter.

2. When “7” is preceded by a small circle or by “dim.,” it represents a diminished seventh, which is enharmonically a major sixth. B⁰7 or B dim.7 stands for B D F A♭.

D. The Arabic numeral “9” indicates that the seventh (minor, unless major seventh is indicated) and the major ninth are to be added to the triad.

1. A lowered ninth is indicated like this: C7 (−9) or (better) C7 (♭9).

2. A raised ninth is indicated like this: C7 (+9) or (better) C7(♯9).

E. The Arabic numeral “11” indicates that the seventh (minor seventh unless major seventh is indicated), major ninth, and perfect eleventh are to be added to the triad.

A raised eleventh is indicated by a “+” preceding the “11” or as in the second example below.

F. The Arabic numeral “13” indicates that the seventh, ninth, eleventh, and major thirteenth are to be added to the triad.

NOTE WELL: The symbols for minor affect only the third; the symbols for major affect only the seventh.

The process of naming the tones indicated by the alphabetical chord symbols is called “spelling the chord.” When spelling the chord, the notes should be written on the staff. Since the alphabetical chord symbol doesn’t indicate a particular octave, the chord should be spelled in the octave which will involve the least number of ledger lines above or below the staff.

The chord symbols below form a simple variation of the harmonic structure of the “blues”:

The vergules (/) under each chord indicate the number of beats the ch...

Table of contents

• Cover
• Copyright
• Title Page
• Dedication
• Preface
• Contents
• 1. Alphabetical Chord Symbols
• 2. The Six Types of Chords
• 3. Elaboration of the Six Types of Chords
• 4. Basic Harmonic Considerations
• 5. The Ranges of the Instruments
• 6. Voicing
• 7. Close Position Voicing (I)
• 8. Close Position Voicing (II)
• 9. Close Position Voicing (III)
• 10. Open Position Voicing (I)
• 11. Open Position Voicing (II)
• 12. Open Position Voicing (III)
• 13. Non-Chordal Tones
• 14. Harmonization of Non-Chordal Tones (I)
• 15. Harmonization of Non-Chordal Tones (II)
• 16. The Thickened Line
• 17. The Widened Line
• 18. Percussion
• 19. The Double Bass
• 20. The Guitar
• 21. The Piano
• 22. A Preliminary view of the Ensemble
• 23. The Basic Ensemble Method
• 24. The Four-Tone Ensemble Method
• 25. The Percussive Ensemble Method
• 26. Brass Mutes
• 27. The Background
• 28. The Planning of Orchestration
• 29. Combinations of Instruments
• 30. Identities
• 31. Chords Derived from Scales
• 32. The Progression of Chords derived from Scales
• 33. Mixed Voicing
• 34. Mixed Ensembles
• Notes