[Roger Aldridge]

More ideas are coming together about the 5-horn jazz ensemble scores I'm working on.

Here's one: Existing small jazz groups -- such as quartets or quintets -- could add a 5-piece horn section on an ad-hoc basis and use these charts for special gigs. Just about any combination of wind instruments can be used (within the range of each horn line). In this way, pulling together a horn section can be based on player availability or specific tone colors wanted for the ensemble. It's all about FLEXIBILITY!

One of the section configurations that I can't wait to hear is alto flute, oboe, clarinet, horn, and bassoon. That is, a woodwind quintet with alto flute replacing concert flute. But, a section could also be more conventional with brass or saxes or clarinets (Bb clarinets, bass clarinets, optional contra-alto) or a mix of brass & saxes.... One can also let their imagination go totally wild. How about an alto flute, soprano sax, english horn, bassoon, and tuba? ha ha

Frustration opened the door to this concept. I became tired of writing charts for specific instruments and then have directors or groups complain that they didn't have a particular instrument. After being pissed off one time too many, the idea came to me to write charts for non-specific instrumentation and then have parts written for a whole bunch of wind instruments. In this way, ensembles can use the parts for the horns they have. It's such a SIMPLE idea. I'm now wondering why I didn't think about it years ago! ha ha

Two charts have been finished (Connecticut Avenue SUVs and New Tango No. 1: Movement). I'm starting to work on Baltimore Rowhouse. Blues for Lester will probably be next in line.

Please let me know if you have a group and would like to take these charts for a test drive. Just send an email and I'll send a ZIP file with a complete set of parts & score.

Thanks, Roger

 

[Peter B]

I have a few ensemble scores dating from 1988 published by a company called AV Music here in the UK which sadly went out of business many years ago. These are scored in exactly the way you describe, and as you can see from the attachments you just pick the parts you need for your lineup. This was, and still is, a brilliant way of writing for ensembles and I'm astonished that it's not been picked up on by other commercial publishers.

(Sorry about the quality of the scan, but the yellow card covers have faded after gathering dust on my study book shelf for 23 years and it's the best my scanner can make of them !!)

 

[Roger Aldridge]

Thanks so much Peter! I know for a fact that this idea is not an original concept. It's been done by some publishers like the one in your message. It does, indeed, seem like such a siimple idea!

One problem I'm having with this approach is there are times when I'd like to write differently for some of the horn lines -- especially, the low lines. As I'm writing my 5-horn scores I'm actually thinking of alto flute, oboe, clarinet, french horn, and bassoon. That is, a woodwind quintet with alto flute replacing C flute. At times, I'd like to write higher things for bassoon. But, the range would not work for tuba (as an example). And, some times I'm thinking of tuba and would like to take it lower. But, it would be too low for bassoon or bari sax. All of that said, I'm still feeling excited about this approach and hope to hear these scores with different kinds of instruments.

I'll attach the score for Baltimore Rowhouse so you can see what I'm doing. There's a good amount of freedom in the music for both the soloists and the horn section players. In this score the horn section can improvise backgrounds and interactions with the guitar soloist instead of having conventional notated backgrounds. This will enable each performance to be a unique creative experience. With this amount of freedom, the score is highly dependent upon the soloists and ensemble players to bring the music to life and make it work. Also, as you'll see, I like to write in a linear style. In this respect, I've found 5 horns (one player on a line) to be a better match for what I want to do than writing for a big band (typically sectional writing).

Roger

 

[Peter B]

Fascinating Roger thank you. That's lovely writing and you've got to be onto a winner there. I can see schools, teachers, musical directors et al. beating a path to your door for them.

A feature of the ones I've got are that on some of the parts, Part 4 in the case attached in Concert Bass clef for Bassoon/Trombone/Bass Trombone/Tuba/Cello , (your line V) there are a set of alternative notes. This makes for a pretty untidy part, but gives a bit of added flexibility in the octaves game I suppose.

Good luck with your scores project. They should prove very popular and as you say, hopefull hearing them played in different instrument combinations will be very rewarding for you.

 

[Roger Aldridge]

Thanks Peter!!! These scores are available to others -- colleges, high schools, professional bands, etc -- to work with and perform.

My main focus in music right now is this series of scores. 3 are finished, currently working on the 4th (Sleepy Creek Samba), and 5 & 6 (Buzzards in Love and Blues for Lester) have been mulling around in my mind and are next in line. After that, I'll see where my intuition leads me. I might arrange more of my tangos.

I need to find better ways for musicians, schools, and bands to know about this music. Up to this point, I've avoided commercial publishers.

Roger