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Topic: 4 way close dbl. lead question

  1. #1

    4 way close dbl. lead question

    I am doing a 4 way close double lead (8vb) arrangement of "On Green Dolphin Street" for 4 trumpets and a trombone as an exercise and I am having a problem with one particular bar. Bar 19 in the 2nd ending is an Amin7 with a dotted quarter D natural followed by a tied eighth and half note C natural. When I add the notes below the D, I end up with an Emin7 - this resolves to the Amin7 in the second half of the measure, but it does not sound very good.

    Have I missed something in the rules of close 4 voice harmonizing? Is there something else I should have done with the D natural? The Emin7 just doesn't sound right, but it is the extension of the Amin7, and I believe the 9 and 11 can be added here by the rules - if not, how to get close position?

    Thanks for the help.

  2. #2

    Re: 4 way close dbl. lead question

    If you want to force the A minor-ish sound, change the B to a C so that your voicing, top to bottom is D, C, G, E, D. With the bass player presumably establishing the fundamental A, you end up with all you need. The C really should be in there to confirm the A Minor. If you leave it as a B, it could be taken as a sus chord.

    In reality, though, it comes down to what you like the best - which sounds best to you. Other options are to use a Bb7 or E7 (maybe with a sharp 5) or G# dim on the D note. Find what works the best and go with it. In my opinion, the rules exist to provide options, which is totally unintuitive sounding, but until you know the rule and then disregard the rule because you don't like the results, you're not forced into finding alternatives.
    Paul Baker
    Baker's Jazz And More
    Austin, Texas, USA

  3. #3

    Thumbs up Re: 4 way close dbl. lead question

    Try A minor under the dotted D. This makes the third and fourth measures of the second ending functionally identical to the first two measures of the second ending but on a new key center.

    i.e, the first four measures of the second ending form a sequence, with both measures 17 and 19 walking down to the seventh on the third beat:

    mm 17-18 : iv7, iv/7 | ii7b5, V7b9 (key center = A minor)

    mm 19-20 : iv7, iv/7 | ii7b5, V7b9 (key center = E minor)

    The next two measure are another sequence, but now doubling the rate of key change)

    mm 21 : ii7, V7 (key center = D minor)

    mm 22 : ii7, V7 (key center = C major)

    Finally arriving at tonic and turnaround

    mm 23 : Ima7 (tonic)

    mm 24 : ii7, V7 (turnaround)

    If you're writing five voices as an enclosed octave lead, this should sound OK for measure 19:

    D >> C
    C >> A
    A >> G
    G >> E
    D >> C

    Note that the first chord omits the fifth in order to cover all the essential chord tones while still allowing the octave doubling of the D-natural lead.

  4. #4

    Re: 4 way close dbl. lead question

    Thanks to both of you. When I've played this tune on piano I've always treated the first 2 beats as a sus 4; I'm trying to teach myself and I guess I'm being a bit too literal and not trusting myself. The Amin works fine.

    bmdaustin - good advice - I will keep in mind as I progress.

    DarwinKopp - nice analysis, thanks. I'm embarrassed I didn't do it myself before I started.

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