Notice how these spread voicings support the melody both harmonically and rhythmically now. They have a melody of their own now that works with the simple sax line. I was just focused on making sure the harmony is supported while maintaining good voice leading: Most are open spread voicings until the end where the melody is low and the bass trombone is high. Here’s the melody harmonised with soft pads. In this example, the saxes drop quite low so if the trombones go above them, they should still be in a register that they can control so they can play quieter than the saxes. The pads should support the harmony - not contradict it.ĭon’t let the pad cover the melody. If I miss out an important 3rd or 7th, we could accidentally create an entirely different chord. Remember to check the list of available tensions for each chord type.Īvoid ambiguous voicings in pads. Other available tensions like 9ths, 11ths and 13ths can be added depending on the chord quality, but the basic structure of the chord should be in place first. Make sure to fill in the guide tones (3rds and 7ths) as much as possible and ensure good voice leading between them. It’s supposed to be a background texture and any crazy leaps will make the line stand out. ![]() Make sure the voice leading is very smooth. Because I’m only using four voices, decisions will have to be made about which notes are omitted. I could use the bari sax for five voices if necessary. ![]() ![]() The lowest note, played by the bass trombone, will be the root note most of the time (although it doesn’t have to be). We could use saxes to differentiate the timbre more, but we’ll stick with this smooth homogenous brass sound for now. We can add supporting background harmonies using the trombone.
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