[AdamE]

Hi all,

I've been studying the harmony of Niehaus's quartet arrangements, and have a quick question about one of the sections in his arrangement of "Fascinating Rhythm".

The harmony in question is beat 4 of measure 10 (see attached photo). The two chords before beat four are clearly Bb, implying a dominant harmony to the downbeat of 11 which is an Eb maj chord. However, beat four seems to imply Bb with the tritone in the baritone and tenor parts, and the soprano and alto parts perhaps make it an Altered Bb chord.

Any thoughts? Maybe a French 6?

Thanks!

Adam

 

[Nefertiti]

Hi all,

I've been studying the harmony of Niehaus's quartet arrangements, and have a quick question about one of the sections in his arrangement of "Fascinating Rhythm".

The harmony in question is beat 4 of measure 10 (see attached photo). The two chords before beat four are clearly Bb, implying a dominant harmony to the downbeat of 11 which is an Eb maj chord. However, beat four seems to imply Bb with the tritone in the baritone and tenor parts, and the soprano and alto parts perhaps make it an Altered Bb chord.

Any thoughts? Maybe a French 6?

Thanks!

Adam

It's hard to answer this question without knowing what instruments these are for. Are they concert parts or transposed for each instrument? Are they all in treble clef? Your description above seems to not match the music as I look at it........

 

[AdamE]

Sorry, I should have been more specific.

Saxophone quartet, SATB. Key is Eb major, treble clef for all horns, parts are not in concert pitch.

 

[Taragot]

Dear Adam,
I hope, I got all the transpositions right:scratch:
For me, it looks like a V7 IV7 (Bb7 Ab7) movement as in a blues. All voice go down a whole step from the accent on 2+ to 4 - except the tenor, which plays concert d and not eb. So on 4 it's an altered Ab7b5 (or D7b5). Perhaps Lennie Niehaus thought that a simple V IV progression sounded too trivial?

 

[SaxmanTy1]

Hi!

Beat 4 is a Bb9(#5) with no root. It's a Drop 2 voicing. So, stacked, it would be C - Ab - F# - D. Drop 2 and you have C - F# - D - Ab, the voicing you see here. The previous chord, the Bb13, (Or you can say Bb7add6) the 13 (6th) in the Alto, the G, is moving down a half step to the F# the #5.

 

[lydian]

I agree with SaxmanTy1. Your instincts about it being an altered dominant Bb chord are correct.

The drop 2 is very common in harmony like this. Gene Puerling of the Hi-Los did this a lot in his 4 part arrangements to great effect. It's a very hip sound.