General Guidelines for Voicings the Brass Section

Trpt 1

Trpt 2
trpts
Trpt 3

Trpt 4

tbn 1

tbn 2

tbn 3

tbn 4

pno

bass

drums

& c
& c

& c
& c
?c
?c
?c
?c

G sus

B bm9

E bmaj9 (#11)

b 5)

E bmaj9

C 9sus4

B b9sus4

E m9

G sus

E m9

B bm9

E bmaj9 (#11)

G 9sus4

D m7(

B bm aj7/C

In their lower range, four trpts then two

trpts can balance with four-five
trombones in slower root position brass
voicings.

When the trpt section is in a middle

range, and the movement is slow, the
lower trpts and higher tbns can be
voiced in cluster.

B b9sus4

C 9sus4

E bmaj9

b 5)

D m7(

G 9sus4

& c |
?c

b
b

A bmaj9

When the lead trpt

is at the top of the
staff (concert) tbns
can be voiced open
(pyramid) or closed

b b

E m9

E m9

A bmaj9

b b

B b13

E m9/A

F m9

B 9sus4

F m9

B b13

E m9/A

F m9 B b9sus4

B 9sus4

F m9

A 9sus4

When trpt lead is higher, the two leads (trpt - tbn) are voiced
between an octave and 10th of each other. Tbns are given midrange voicings until a section closes, at which time they can
be given root position voicings. (Leads remain 8ve-10th, though)

Stella By Starlight - medium up - Brass and Rhythm

&

Tempo

&

Tempo

trpts

&

Tempo

&

Tempo

&

#.

b
F #m7( 5)

10

F #m7(

tbns

b 5)

#.
.

b
J

j
w

B 7(b 5)

|
J
B 7(b 5)
j
w

11

12

.
.

|
J
A m7
j

13

b.
b.

14

A m7

A m7

B bm aj7

B bm aj7

15

b b

b.

G bm aj7

b.
.

b.

G bm aj7

.
.

b b
b.

G m7

A b7sus4

b b
b b

G m7

b.

A b7sus4

brass

b.

b.

A m7

E m7

E m7

Combining the brass - category I - one section in unison,

the other chorded. Note that this technique only works
well when there is a difference in linear movement between
the two sections. (Also when combining brass and saxes!)

ACE Brass, page 2

b.

b.

rhy

?
?
tbns

j
.

F m aj7

F m aj7

16

as the brass combine, range considerations (page one) influence the choice
of voicings and combinations. Note the rhythm section cues, especially
those for the drummer, who appreciates knowing who is playing his cues.

trpts

& ..

&

& ..
..

&

..

rhy

b 5)

17

C sus4/G

18

b
#

# b

4 trpts unison

3 tbns

C/G

C/G

F #m7(

b 5)

b
F #m7( 5)

19

B +7

B +7

E m9

E m9

# b

3 tbns

20

A m7

A m7

21

Combining the brass - category II: Everyone in unison octaves. We watch for two
important qualities: 1) the moving line is idiomatic to the instruments playing, and - -

j
# #

j
w

# j # #

j
w

# b

3 tbns

# b

# b

4 trpts unison

# b

C sus4/G

4 trpts unison

4 trpts unison

&

b
D m7( 5)

? ..

D m7(

? ..
?

..
..
?
tbns

G m aj7

G m aj7

22

# j

j
# w

# j
j
# # w
# J # J w

# J w
J

#
J

# J

# j #

E m7

E m7

ens

23

F #m7

F #m7

j
w

G C

|
J
G C B m9
j

B m9

24

- - 2) however long the section, it comes

to a close with integrated voicings.

Notice also that while the horn movement is moving easily, rhythm section has slash notation. When integrating, in-the-staff notation is used.

ACE Brass, page 3

&
trpts

?
?
tbns

&

?
25

E +7 ( 9)

E +7

(b9)

A +7 ( 9)

A +7

(b9)

26

#
#

27

A7

b 9)

(b 9)

D m9

28

Short sections of parallel coupling (trpts and tbns play same notes one
octave apart) do not sound "old" when the chords are extended and the
lead line is written with good motion. (We take care that the lines breathe.)

# J

#
J

F #m7(

30

b j

b 5)

b
F #m7( 5)

j
b

29

n j#

# j

# n
J

D m9

#
A7 (

n b

# n

n b

b.

# n

bf .

rhy

b.

&

f
f

&

b.

&

J
j

n j

j


J

b J

b J

j
n

J

F m7

31

F m7

B b7sus4

B b7sus4

E m9

# # J

32

j
# #

E m9

As the form develops, voicings types will mix, in this way

raising the contour level while leaving the music playable.

Note the F# on beat three of measure 30 for the bass. The measure starts with an F# chord, ordinarily calling for an F# in the bass
on beat one. But with the trombones dropping to root position on beat three, we want the bass to agree (trombone F# is in bass range)
therefore the F# indication in the bass part. Notes played by the bassist on the other beats are less important in this instance.
ACE Brass, page 4

&
trpts

& w

? w

rhy

33

# n

#
J

F #m7(

b 5)

F #m7(

b 5)

| ..

34

..

| ..

B +7

35

E m7(

5)

F #m7( 5)G m7(

b 5) A m7(b 5)

j #
j

36

Written bass when the

slower moving tbns
occupy the bass range

37

F
F

F
F

j
.

Phrasing and
articulations
in the brass,

38

j b
.
J

n
J

.
J

.
J

j

G +7

39

b.
b.

j
n w
w
J

G +7 ( 9)

.
b

G +7 ( 9)

articulations tbn cues

placed in the drum part

j
# w

n
J

b.

G +7

D9

D9

.
J

b.

# J .

j b

b 5) A m7(b 5)

b -

F #m7( 5)G m7(

E m7(

b 5)

Jb

- ^
b
- ^
b
b - b ^

j
#

. .

The return to unison

trpts, chorded tbns,
bringing reuse into
the chart.

b
J

j
..

. .

tbns

..

#F ..

# n
..

# n

..

Important functions
on this page include:

ACE Brass, page 5

# n

? w

A m7

..

? w

&

..

A m7

& w

tbns

& w
?

.
.

j
n w

j
w

|
J
Cl yd
j
w
Cl yd

40

Root position horns for

a feeling of closure