Soli Writing for Big Band: The Complete Arranger's Guide
If you have ever heard a big band roar through a perfectly harmonized saxophone passage — all five horns locked in tight, swinging as one — you have experienced one of jazz's most thrilling sounds. That passage is called a soli, and it is arguably the most powerful tool in the big band arranger's toolkit.
Unlike a solo (one player improvising) or a tutti (the whole band playing together), a soli sits in a unique middle ground: a single section — usually the saxes, sometimes the brass — playing a fully harmonized melody in tight coordination. When written well, a soli can carry an entire arrangement on its own. When written poorly, it sounds muddy, awkward, and out of place.
This guide walks you through the complete process of writing an effective soli, from choosing your melody to applying the final voicings to the instruments. Whether you are arranging for a big band or a small ensemble, understanding soli writing will transform your arrangements.
The term soli (plural of solo in Italian) in big band context refers to a harmonized passage where an entire section plays together. The most common form is the saxophone soli, where all five saxes — alto 1, alto 2, tenor 1, tenor 2, and baritone — play a single harmonized line. Brass solis (all trumpets or all trombones) are less common but equally effective.
The defining characteristic of a soli is that the top voice carries the melody while the lower voices provide harmonic support, all moving in rhythmic unison. This creates a thick, cohesive sound that is distinctly different from block chords or background pads.
Historically, the soli became a staple of the Swing Era, perfected by arrangers like Fletcher Henderson, Don Redman, and later Thad Jones, Sammy Nestico, and Gordon Goodwin. Each brought their own harmonic language to the technique, but the underlying principles remain consistent.
Step 1: Write and Refine the Melody