New Jazz Ballad

I've just finished this ballad for jazz ensemble and would welcome any comments or suggestions. Here's a link to an mp3:

http://www2.potsdam.edu/simonega/Library/Olive_Glow_8-18-09.mp3

Here's a link to a pdf of the score:

http://www2.potsdam.edu/simonega/Library/Olive_Glow_8-18-09.pdf

Nice piece of work Glenn. Just one question - I can understand the reason for keeping chord extensions to a minimum for the blowing, but why do you have half-dim chords in the head, then dim chords for the solos? Just wondering...

Thanks for writing.

I also have fully diminished chords in the head. Check the second and third measures after B. I don't know whether or not this is typical, but I need to be more specific during the head so the rhythm section doesn't clash with the melody or accompaniment. I figure during the solos the soloist can decide how to embellish the triad, and the rhythm section should just follow along. I don't have a lot of experience writing for jazz ensemble. Does this seem like I'm expecting too much?

I was talking about the G half-dim chords in the A section. I wouldn't worry too much about harmonic clashes between soloist and rhythm section - jazzers are used to playing fast and loose with chord alterations and not getting in each other's way. For instance, pianists will often play a D6/9 voicing when the chord symbol is just D, and 7b9, 7+9 and 7alt are often played interchangeably.

I'd also point out that jazz players naturally think beyond the triad anyway: nothing wrong with writing chord symbols as exact as you have on A and B for the blowing - you'll possibly hear them altered anyway in performance. At very least, I'd indicate the dominant chords with a 7 during the blowing, as it would just look more natural.

Incidentally, where you have a dominant moving to a minor on the same root (as in Dm6 G9 Gm9) 7+11 can be a good choice of colour for the dominant. This works well in backings and is unlikely to clash with the soloist, who wouldn't normally emphasize the natural 4th/11th on a dominant. Why not try an upper structure chord in the backing, eg reading from bottom to top:

G (low root), B, F, A, C#, E

Which gives a nice fat representation of the G7+11 chord and allows for some slick voice leading into the Gm9 chord that follows.

Best, J

Thanks for the ideas and suggestions. Let me play around with them a bit and see what I can come up with.

Your suggestion about using the 7+11 sounds like a great idea. I'll check it out. Are you suggesting that I specifically write this in during the solo comping, or just during the head?

Up to you - why not try it both ways and see what you think.

Nicely written chart! Clean, articulated, well done. I'd love to play it.

The midi tracks rhythm section is too busy. The bass and drums tend to stay away from just pounding the time. I know the live players will do it differently :) One other thing. There's a bari solo backed up by some bones. Won't that be a little hard to hear and distinguish? Maybe harmonize some pads up top over that bari line with two altos and a muted trumpet. Just an idea.

Thanks for your comments, Ticktockfool. When you write "Won't that be a little hard to hear and distinguish?" do you mean the bari part or the trombones? My concern was covering up the bari since that's playing the melody, but I can try adding some higher-register notes to the pads and see it the melody still comes through.

Sorry, my fault. Won't the bari be hard to hear? But if that is your intention... go for it!

Again, nice chart. Finale? What year?

Sibelius 6.

I was afraid that pads above the melody line might drown out the melody. You're saying they would help the melody to stand out more? Hmmm. I'll have to check it out. Thanks again.

I think the "cut" of the bari should come through a trombone backing, as long as you've a strong handle on dynamics and register.

I think it's more important that the comping is in a different register from the solo instrument - the solo instrument doesn't have to be on top. Don't forget that piano and guitar comping is routinely above a solo tenor sax.

Don't have the score in front of me, but closely voiced bones in their upper register (a very sweet and often neglected sound) generally work okay for a bari solo.