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Rhythm Section Techniques WELCOME JAZZ ENSEMBLE TECHNIQUES For the classically trained musician JAZZ ENSEMBLE TECHNIQUES For the teachers that don’t have jazz band performance experience PURPOSE • Identify some common issues specifically related to the jazz ensemble • Provide tips and tricks to improve overall quality of your jazz band’s performance THE RHYTHM SECTION • Most “horn” playing teachers tend to ignore the Rhythm Section • Most teachers without jazz performance experience aren’t sure what to address • Problems within the “comfort zone” are most commonly addressed TIPS FOR BASS • If your bass player is in orchestra, don’t hesitate to use upright bass on swing tunes, but buy a good pick-up! (I prefer the “Realist” bass pick-up) • ALWAYS use a tuner (EVERYDAY) • Keep bass amp OFF of the floor TIPS FOR BASS • Set up near the drums (High Hat or Ride Cymbal) • Keep volume up on bass and down on amp for clean tone • On most bass amps, turn highs up, mids at zero, and lows down for definition TIPS FOR BASS • Electric Bass should be hanging from the body so that it looks and feels as natural as possible TIPS FOR BASS • Bass lines should be smooth and connected with very little space between notes • Alternate first and second fingers to walk a line • Follow the “diagonal” of the fingerboard TIPS FOR GUITAR • ALWAYS use a tuner • Listen for good balance with the rest of the ensemble (Yes, you should be able to hear the guitar ) • Place amp behind and to the left of the player TIPS FOR GUITAR • Turn down mid-range on amp and set tone near the lower end on guitar EQ (less than 5) for darker tone with definition • Guitar parts are usually guidelines with limited “specifics” TIPS FOR GUITAR • Use “Freedie Green” style when full band is playing in medium/slow swing tunes • Pick one funk/latin tune that features your guitar player and let them have fun!! TIPS FOR PIANO • Set up the piano so you AND your students can hear it • Don’t forget the piano has harmonic AND rhythmic responsibilities TIPS FOR PIANO • NEVER double the bass in the left hand • DO NOT USE THE PEDAL (except in slower ballads) • SILENCE is as important as the chord voicings TIPS FOR DRUM SET • The Drum Set should be set up AROUND the player so that the player NEVER has to reach for any instrument TIPS FOR DRUM SET • Throne should be set so that the player’s knees are at a slight downward angle • Hi-Hat should have a crisp sound loud enough for the entire band to hear. Cymbals should be 2 to 3 inches apart TIPS FOR DRUM SET • Ride cymbal is the time keeper and should be played 1/3 up from the edge for the most articulate sound • Crash cymbals need to be placed so that the player’s arm naturally falls to the “sweet spot” of each cymbal TIPS FOR DRUM SET • Think of the drum set as a choir with many different voices and LISTEN for a balance between each voice • Tension=Dragging, and in most cases, Dragging=Tension • Singing is a great way to relate what you want to hear from the drummer TIPS FOR DRUM SET • Use the drum set part as a guide— simplify when necessary • Have the drum set player “Set-Up” the first entrance of every tune QUICK TRICKS TO MAKE YOUR DRUMMER SOUND BETTER • Vary the Ride Cymbal pattern, regardless of the style • On Medium Swing tunes, bass drum should “feather” quarter notes with the Bass player (except in solo sections) QUICK TRICKS TO MAKE YOUR DRUMMER SOUND BETTER • Don’t let the bass drum over balance the rest of the colors • Over exaggerate dynamic changes • Switch cymbals at appropriate moments in the form of a tune QUICK TRICKS TO MAKE YOUR DRUMMER SOUND BETTER • Switch cymbals for different soloists • Use variety of implements (brushes, mallets, sticks, etc) to generate interest/energy through variety of colors QUICK TRICKS TO MAKE YOUR DRUMMER SOUND BETTER • Use every sound available (rims, edge/dome of cymbals, loose hi-hat, etc.) • Make your “drummers” play auxiliary percussion and mallet instruments SET-UPS AND KICKS • Don’t use cymbals for set-ups • Don’t let your drummer turn a “set- up” into a “solo” • In general, “set-ups” and “kicks” are for use on full ensemble figures SET-UPS AND KICKS • Use high sounds to “kick” high instruments and low sounds to “kick” low instruments • Use long sounds for long notes (cymbals) and short sounds for short notes (snare, toms, hi-hat, small crash cymbal) • Use snare drum with cymbal or bass drum with cymbal, never all three at the same time Varied Ride Set-ups Kicks, Long/Short THE ART OF COMPING • Every instrument in the rhythm section is responsible for comping except for bass • Comping=Complimenting • Tell students to think of comping as having a conversation, not an arguement – Everyone can’t talk at the same time and nobody should be yelling TIPS FOR COMPING • NEVER let your pianist and guitarist comp at the same time during solos • Leave space! Sometimes the most effective comping is silence • Use simple rhythms (dotted quarter eighth, beginning on any beat) TIPS FOR COMPING • Encourage students to “question and answer” • Don’t let texture become “muddy” between guitar, piano and drums • Look at what’s written in parts and modify them as needed Piano Comping PIANO COMPING TIPS • In general, right thumb should stay between middle C and and the C above that • Move fingers the shortest distance possible between chord voicings PIANO COMPING TIPS • Don’t play roots in voicings (don’t double the bass) • Many written piano parts have roots in the bass—leave them out! • In general, the left hand should play 3rds and 7ths and the right hand should add color tones (9, 11, 13) SIMPLE PIANO VOICINGS (FRANK MANTOOTH) • For Major 7th Chords • Start on the root or 5th in top voice, drop in 4ths • Three notes in the right hand, two in the left • For Minor 7th Chords • Start on the 3rd, drop in 4ths • For Dominant 7th Chords • Start on root or 5th, drop in 4ths with the 3rd and 7th in the left hand RHYTHM SECTION SUMMARY • Listen to the rhythm section like you would listen to any other section • Don’t ignore guitar and piano • Use common sense and don’t be afraid to address issues RHYTHM SECTION SUMMARY • Examine rhythm section parts and guide the student’s choices • Listen to the great big bands and internalize the sounds coming from the rhythm section RHYTHM SECTION SUMMARY • Go see live jazz and focus on the rhythm section • Utilize every resource possible • Internet • Clinicians • Private teachers • Method books HORN SECTION SET UP • Keep lead players lined up in the center of the block • Lead trumpet determines articulation and style for the lead bone and lead alto. Everyone else listens toward their lead player • Keep low voices on the same side of the block • Bari Sax and Bass Bone are often playing in unison • Rehearse in both “block” and “square” formations • Provides students (and director) opportunity to listen to other sections ARTICULATION • Longs and shorts need to be exaggerated, especially at phrase endings • Back Accent (off beat) articulation (saxes and trumpets only) • Ghosting Notes (Especially Trombones) • Tongue stop releases TYPICAL NOTATION ADJUSTED ARTICULATION IMPROVISATION • Blues scales are the best place to start Blues in Bb • Learn all major scales around the circle of fifhs • Aebersold CD’s, Smart Music, iReal Pro • Transcription Projects II/V7/I in all keys SUMMARY • LISTEN TO JAZZ • Bring in clinicians ENSEMBLES/ARTISTS • Darren Kramer • Go see live music and • Peter Sommer take your students • Paul Romaine whenever possible • Eric Gunnison • Utilize the internet • Joe Andries • Youtube.com • Tim Libby • Kendormusic.com • ASK QUESTIONS! • Jwpepper.com ROOSEVELT HIGH SCHOOL.
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