International Journal of Music Science, Technology and Art (IJMSTA) 6 (1): 1-8, Music Academy “Studio Musica”, 2024 ISSN: 2612-2146 (Online) 1 International Journal of Music Science, Technology and Art 01 2024 - 06 2024 | Volume 6 | Issue 1 Accademia Musicale Studio Musica Via Andrea Gritti, 25 - 31100 Treviso (Italy) Jazz Arranging: Advanced 4-Way Close in Minor Context Carmine Cataldo * , Giosuè Grassia, Leonardo De Lorenzo, Giuseppe Ilario State Conservatory “Nicola Sala”, Benevento, Italy * Corresponding author: c.cataldo@conservatorio.bn.it ARTICLE INFO ABSTRACT Among the difficulties usually faced by students (and professionals) in carrying out a 4- Way Close jazz harmonization, the management of chromatic bridges undoubtedly stands out, especially when the duration of the notes that constitute the melodic line is limited. The harmonization of chromatic lines, in fact, exposes the arranger to an increased risk of making unacceptable Part Writing Errors (different from those commonly considered in Tonal Harmony). This article represents the third part of a vast and meticulous research work. We herein propose the 4-Part harmonization, this time in Minor context, of all the short chromatic bridges between chordal tones and available tensions. The harmonization is considered as being a functional process: consequently, all the voicings are accurately labelled, so as to allow the reader to immediately understand their role in the harmonic context. Copyright © 2024 Author et al., licensed to IJMSTA. This is an open access article distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/3.0/), which permits unlimited use, distribution and reproduction in any medium so long as the original work is properly cited. 1 Introduction to the paper This article represents the third part of a previous work (two papers, already published in the same journal) [1,2]. The work in its entirety may be regarded as the latest evolution of a 4-Part Harmonization method, previously introduced [3], in which each Voicing is explicitly assigned a specific Function, highlighted through the usage of an extremely rigorous notation. Very often, as elsewhere underlined [1,2], a coherent and effective 4-Part jazz harmonization of chromatic lines can turn out to be a very challenging task even for skilled professionals. In this paper, the harmonization of all the short chromatic bridges between chordal tones and available tensions in Minor contexts is discussed, by resorting to the concepts of harmonic functions (the harmonization is considered as being a functional process), tonicization, chromatic parallelism. All the acceptable errors are highlighted. For the sake of clarity, we underline how the harmonized notes coincide with the upper voices. In the following parts, we will first describe the preparations of musical stimuli and introduce the testing tasks, after which we illustrate the designs of objective. measurements and listening tests. Subsequently, features will be extracted from the audio signal of both AI output and human output to make an objective comparison. 2 Fundamental Rules in 4-Way Close Writing In carrying out a correct 4-Part Close Harmonization, any arranger should abide by the following simple rules [1,2]: a. All the notes of the Voicing must be placed in the range of a single octave (Close Position): in other words, the maximum interval between the External Voices cannot exceed a Major Seventh [3]; b. The Harmonic Functions associated with the Voicings should always produce the underlying Harmonic Flow: ____________________________________________ Received: March 21, 2024 Accepted: April 15, 2024 Published: April 19, 2024 DOI: https://doi.org/10.48293/IJMSTA-15 ____________________________________________ Keywords: Jazz Arranging 4-Way Close Minor Chords Harmonic Functions Tonicization Chromatic Parallelism Delayed Resolution