I'm working on transcribing some old 60's soul numbers and as is typical of the genre there is a lot of horn section work going on.
I was wondering is anyone has any insight into how these or other sections are harmonically constructed?
e.g. if there is a second or subsequent horn the obvious options are to play in unison, at octaves or on different chord tones.
I'd appreciate any suggestions or if anyone knows of any literature available on this topic.
Thanks, Steve
I was wondering is anyone has any insight into how these or other sections are harmonically constructed?
e.g. if there is a second or subsequent horn the obvious options are to play in unison, at octaves or on different chord tones.
I'd appreciate any suggestions or if anyone knows of any literature available on this topic.
Thanks, Steve