The Big Band Theory: Unraveling the Mystery of the Jazz MPA Russ Weaver, B.M. and Chris Sharp, Ph.D. FMEA clinic, January 2015

This clinic has been designed by actual FBA Jazz MPA judges to address issues commonly observed at district and state jazz MPAs over the past several years. The following strategies will help you avoid and/or overcome many of the pitfalls you may encounter on your way to a successful and musically enriching experience with your jazz ensemble. If you are new to jazz ensemble, you may be asking yourself:

1. Why do jazz band? a. Legacy – jazz is our only indigenous American art form. As music educators in the United States of America, we need to do everything we can to preserve and promote this music! b. Benefits 1) The jazz ensemble is essentially a large chamber group. In it, your players learn to be responsible for covering a musical part solely on their own, not doubled by other players. This ultimately results in stronger individual performers. 2) As in any chamber ensemble, listening is key in the jazz ensemble. Your students will develop a heightened sense of aural communication that will also be a benefit to your larger ensembles. 3) Should your students go on to become professional musicians, it is much more likely that they will be engaged as performers of commercial, jazz‐based styles than as career orchestral musicians. There are far more professional performance opportunities in styles such as top 40, funk, Broadway, Dixieland, rock tribute bands, big bands, theme park bands, small groups, club date bands, etc. Should they become musicians in the armed services, this diversity will help them secure positions in the more prestigious groups.

2. Getting started a. Don’t throw the whole book at your beginners! New styles (especially swing) are difficult concepts for players with little to no experience outside of the concert band. Straight eighth‐note styles such as rock and bossa nova work much better for developing players, and will allow them to first adjust to the jazz ensemble configuration with its heightened individual responsibilities. When you’re ready for the added challenge of swing style, consult the separation “Swing Interpretation” handout. b. Incomplete instrumentation 1) You may not be able to field a full band at the outset. Not to worry – many publishers offer jazz ensemble music with flexible instrumentation that can be performed with as few as three saxes, two trumpets, one trombone and rhythm section. 2) You may also consider combo charts, which can be performed with as few as three horns. Many combo arrangements also have flexible instrumentation and duplicated parts to accommodate different configurations. 3) Please DO NOT attempt to perform fully orchestrated arrangements with only a few players! This rarely sounds good. 4) If you find you have many more players than you need, avoid the temptation to double and triple parts. Extensive part doubling essentially robs your students of the chamber ensemble‐like experience. Either start a second ensemble, or rotate players in and out to keep it one‐on‐a‐part. c. Setting up your ensemble in the proper configuration:

1) Generally, the rhythm section should be set up (as you face the ensemble) to the left of the winds. The piano goes on the far left, turned so the player can easily see the conductor (open side to the ensemble for grand pianos). Acoustic piano is fine for most styles, but an electric keyboard that can produce organ sounds (e.g. Hammond B3) or Fender Rhodes‐type sounds will allow for much more stylistic flexibility, particularly in rock, funk, fusion, and rock ballad styles. 2) The guitar goes in front at the left end of the sax section with the amp behind and to the left. For traditional jazz styles, encourage the use of a proper, hollow‐ bodied jazz guitar, not a solid‐body rock guitar. Consider purchasing one for the school, if the resources are available. Some setups have the guitar in the “niche” of the grand piano. However line‐of‐sight (and communication) between the rhythm players can be obstructed in this configuration. 3) The drum set goes behind the guitar (in the niche of the grand piano, if used). 4) The bass player goes just to the right of the drum set, next to the hi‐hat so the player can lock into the back‐beat. The amp should be slightly behind and to the right. Having both an upright bass (straight‐ahead jazz, standards, etc.) and an electric bass (rock and funk) available for the player is ideal. 5) Winds, front row – saxophones in the following order from left‐to‐right: 1st tenor, 2nd alto, 1st alto, 2nd tenor, bari. 6) Winds, second row – trombones in the following order from left‐to‐right: 2nd (solo), 1st, 3rd, 4th. 7) Winds, third row ‐ trumpets in the following order from left‐to‐right: 2nd (solo), 1st, 3rd, 4th. 8) Line up the lead players (1st alto, 1st trombone, 1st trumpet) front‐to‐back so they can communicate style and intonation to each other. Section players should be trained to always listen up to the leads for style, tuning, note lengths, releases, etc.

9) Players most likely to get solo changes (1st tenor, 2nd trombone, 2nd trumpet) are located closest to the rhythm section for maximum communication. 10) Train trumpet players to lower their music stands and play over the top so the bells are up and the section can be heard. Do not allow them to blow directly into their stand. If they must have stands up, place the stand to the left of the player and have them direct their bells in the space between the stands. Trombone players do the reverse – stands go to the right of the players so slides can go in the space between the stands.

3. Selecting literature a. The right literature can make or break your performance. Things to look for: Properly notated rhythm section parts. If your pianist has no experience reading chord symbols, be sure voiced‐out chords and rhythms are provided, ideally with the chord symbols provided above. A well voiced‐out piano part can serve as a reference for performing other arrangements. For evaluations of the rhythm section writing in several commonly‐performed charts, we have developed a rubric that addresses specific criteria related to the content of each rhythm section part. For a sample of the results, please visit document we have prepared. It’s available on the website of Cyberwinds Music at this address: http://cyberwindsmusic.com/jazz‐education‐resources/ 1) Your guitarist may be provided with a generic chord chart. Most of the time, they will only get chord symbols. If you are not familiar with guitar, consider purchasing a book of jazz guitar voicings. There are several good ones available. Here’s a link to FJH Music’s online guitar chord voicing generator, an interactive tool that produces on‐the‐spot guitar voicings and fingering charts: http://www.fjhmusic.com/guitar/chords.htm 2) Be sure proper articulations are provided that are consistent throughout the ensemble. WARNING ‐ many published arrangements have improper or insufficient articulations! Unfortunately you cannot count on all published pieces to be written properly. See the provided list of recommended pieces to avoid this problem. 3) Arrangements of jazz standards, or originals written in jazz style are your best and most pedagogically sound choice for selections. No matter how much your kids might want to play them, avoid arrangements of pop tunes for MPA performances! If you must perform them, save those for your other concerts. 4) When programming for the Jazz MPA, seek out a variety of styles so your program has the expected level of variety. The major style groups include swing, rock or funk, Latin and ballads. Picking one of each from the categories is usually a safe bet. Including a swing chart is HIGHLY RECOMMENDED – avoiding this more challenging style completely will not serve your ensemble well. 5) Established band directors who have had successful jazz bands can be a great resource for literature recommendations. There are also lists of good, solid scholastic‐level jazz pieces available online – here are some from Don Zentz: http://jazzrepertoirelists.weebly.com/index.html

4. But…it’s not on the chart! As it is with much of art (classical) music, the elements of jazz style are not always printed on the music. There are certain practices that experienced jazz performers instinctively include when playing jazz. How are they learned? Mostly through listening, but here are some guidelines:

a. Articulations 1) Jazz is a different language from art music. As such, it must be approached differently. Proper jazz articulations are a must. Here is a chart showing the four most commonly used articulations and how they differ in approach between the two styles:

As you can see, the same symbol does not necessarily mean the same thing when used within the two different styles. In general, jazz articulations are more pronounced than those used in art music. Whereas the tongue release is not appropriate for most art music literature, it is often used in jazz to define the length of shorter‐duration notes. Be sure your players understand these style differences, and that performing jazz is a different mindset than that of performing art music. 2) Syllables – these are important! Use the following to produce proper jazz articulations: unaccented note = “dah”; accented note = “tah”; staccato note = “dit”; legato note = “doo”; marcato note = “taht”. These syllables translate into physical articulations that your players should apply directly to the instruments. 3) Singing a line complete with articulations, either at pitch or on a neutral tone, is a great rehearsal tool for ensuring that every player understands and applies the correct articulations for performing a passage. Many times a single line may include every articulation style listed, which can produce almost a tongue‐twister effect. Group singing of the articulations in a phrase can be a fun challenge for your players, plus it’s easy for the director to hear if everyone is “on the same page.” 4) When teaching the “doo‐dot” articulation for long/short groupings of two eighth notes, be sure the first note “touches” the second note (that there is no space between the notes). This is also important when playing swing lines comprised of strings of eighth notes – the downbeat “doo” syllable and the upbeat “dah” syllable should be performed with no space between them to ensure a smooth “swinging” line. See the Swing Interpretation handout for more detailed information regarding this practice. 5) Do not be afraid of using a “tah” articulation to distinguish accented notes from unaccented (“dah” articulation) notes. Again, emphasize that this is a different approach from that which might be used in the concert band. 6) For accented longer‐duration notes such as half notes, encourage the players to blow through the notes so they don’t die away immediately following the attack. This is a very common problem! b. Dynamic shaping 1) Longer‐duration notes generally need to be shaped dynamically to give them musical direction and keep the piece moving forward. Unless they are marked differently, most longer‐duration accented notes should be treated as a fp attack, followed by a crescendo. Notes tied over the bar (most likely starting on the “and” of beat four) are a common occurrence and should be treated this way. The crescendo should be continuous through the full duration of the note, reaching its peak volume right at the point of its release. 2) As in most forms of music, lines that ascend in pitch should be accompanied by a crescendo and vice‐versa if the line descends in pitch. It is common to accentuate the very highest note in an angular line that may be comprised of varying intervals, particularly in swing style.

Again, these stylistic elements often don’t appear right on the music – they have to be pointed out to players until they become a regular part of the ensemble’s performing practices. One way to ensure that these techniques become firmly ingrained brings us to our next topic:

5. Listening – the single most effective weapon in your arsenal! a. Listen to jazz music performed by professionals every day with your class! b. Sources: 1) YouTube – best option, if available – music + performance video together 2) Pandora 3) Spotify 4) Rhapsody 5) A playlist on your smart phone. Consider investing in a room sound system that you can connect to via Bluetooth. This allows for immediate access to your stored recordings during a rehearsal, or as your students are entering the classroom – simply scroll, push and play. The Motorola “Moto” line of cell phones is recommended. It’s available at Radio Shack for ~$40 (thank you, Ian Schwindt) 6) SmartMusic – a fabulous resource that is available via subscription. Not only can you hear professional‐level recordings of pieces you are working on, you see the actual printed music scrolling by on the screen. In addition, it’s also an amazing interactive practice tool that your students can use at school or at home. 7) DVDs you can rent/purchase/borrow from a colleague 8) CDs /records/tapes/.mp3s from your own personal collection, or a school‐owned collection 9) Jazz discographies are available from many sources. Here’s one on big bands from Jazz Ed magazine: http://www.jazzedmagazine.com/2498/articles/guest‐ editorial/25‐of‐the‐best‐big‐band‐recordings‐of‐all‐time/ 10) The big band masters include Count Basie, Woody Herman and his Thundering Herds, Buddy Rich, Stan Kenton, Maynard Ferguson, Rob McConnell and the Boss Brass, Bill Watrous and the Manhattan Wildlife Refuge, Bob Florence, Louie Bellson, The Thad Jones/Mel Lewis Orchestra, Bob Mintzer, Bill Holman, etc. Contemporary bands that are still active include Wynton Marsalis and the Lincoln Center Jazz Orchestra and Gordon Goodwin and the Big Phat Band. c. Listening strategies 1) Seek out numerous performances of specific pieces you are working on to demonstrate the numerous ways different groups may perform the same piece. Start with the reference recording provided by the publisher – if not included with the published piece, most can be accessed online at jwpepper.com 2) Encourage your listeners to try to isolate instruments within a performance – this will develop a more analytical approach to listening vs. the “musical wallpaper” approach common to the iPod generation. Rhythm players in particular can learn much about different styles through this approach. 3) Consider developing a simple worksheet your students can use to write down specifics – it will prevent disengaged listening (zoning out). 4) As you explore the wealth of recordings, keep a list of exemplary ones organized by style that you can use for future reference. Possible categories include swing (slow, moderate, fast), shuffle, samba, bossa nova, funk, rock (various styles), ballads, etc. Consult the handout “Big Band Recordings Listed by Style”. Here is a list of exemplary recordings organized by band, indicating the style and featured performers. It’s also available at Cyberwinds Music at this link: http://cyberwindsmusic.com/jazz‐education‐resources/ 5) Students can be your best resource for locating new and interesting recordings. d. Seek out live performances you can attend with your students (or send them to). Possible sources include: 1) Service bands (usually free) – the Airmen of Note (USAF), the Commodores (USN), The Army Blues, Jazz Ambassadors (US Army), etc. 2) Other professional touring groups 3) Your local college jazz ensemble 4) If you teach middle school, your local high school jazz ensemble e. RECORD YOUR ENSEMBLE! 1) Purchase a handheld device you can use to periodically record your ensemble during rehearsals – do the same kind of analytical listening you do with the professional performances. 2) Most smart phones have proprietary recording apps built right in. The sound quality might not be optimum, but almost everybody has one.

6. Improvisation a. Improvised solos are an expected part of a jazz performance. Any accomplished improviser can tell you that this is a complex skill that is not learned overnight. However, do not allow a lack of experience or preparation on the part of your improvisers mar the overall impression of an otherwise carefully‐prepared performance! This is a surprisingly common occurrence. b. Written‐out solos are ok! Really. As listeners (and adjudicators), we would much rather hear a pre‐prepared solo that is following the chord changes and that is played stylistically and confidently than to hear an inexperienced player struggling to do something for which he has not yet acquired the proper tools. If the player sounds uncomfortable, the listeners may be equally uncomfortable! c. Many published charts come with suggested solos. These can be a terrific tool for young players to learn which notes fit over which chord symbols. If you want them to learn, be sure your players are paying attention to the relationship between the notes and the symbols. It is highly recommended that you have the player memorize the solo. The benefits of this practice are: 1) This will free his/her mind from the visual dependency on the music so they can use more of their mental capacity to listen, play stylistically and communicate with the audience. 2) Once the solo is memorized, it can be used as a point of departure for experimentation. 3) If the student gets nervous and/or flustered during a performance, the solo will be there as a safety net they can fall back on. d. Better yet, have your students study the chord changes and then compose (and memorize) their own solo. This is a great learning tool. e. Another valuable tool for young developing players is to have them transcribe recorded solos, writing in the chord changes. Many accomplished performers have developed their jazz vocabularies using this method! It can be taken a step further by writing in the scale tone numbers based on the chord symbol under each note. f. There is an incredible new smart phone app. now available called iReal Pro. It can be found in any app. store. For only $10.95 (as of this printing), players have access to thousands of jazz tunes in chord change form. The amazing capabilities of this app. include: 1) Although the app. does not include melodies (due to copyright restrictions), it plays back the chord changes using a standard rhythm section. 2) The key, tempo and even rhythmic style are completely adjustable! 3) The absence of melodies encourages students to learn them from one of the readily available fake books (e.g. the Real Book series) 4) You can program your own tunes for the app. to play back, meaning whatever piece your ensemble is working on, your improvisers can program the chord changes, tempo and style right into the app! 5) More tunes are continually being added through forums you can access through the app. 6) For those familiar with the Jamey Aebersold recordings/books, compare the $10.95 cost to the tens of thousands one would have to spend to amass that many practice recordings the old way!

7. Your MPA Performance So now your performance date has arrived. You know you are dealing with teens (and ‘tweens) who can be wildly unpredictable. So you know both you and they will be nervous. It’s ok, even professional musicians have issues with this – they have just learned through experience how to manage it. As a director you want to project calmness and confidence. The way to do that is to control the variables as much as possible. Your level of preparation as a band and as a director will determine how much nerves have an impact on the performance. Strategies for managing the variables include:

a. Your setup. Be sure your band sets up in the same configuration you have been using for rehearsal. If you have used risers, be sure they are in place. If they are not, insist that the host provide them. Don’t fall prey to the “We’ll just use what came before us…” scenario. b. Train your band in rehearsals to look good on stage – no slouching, brass bells out of the stands so they are visible to the audience (and adjudicators). Be sure soloists stand when they are featured – this draws the listener’s eye to them before they begin soloing. Get this in place during rehearsals – don’t wait for the performance or start doing it the week of. You want your soloists to be calm and confident. Instruct your players to focus their eyes (and attention) on soloists when they are not playing backgrounds behind them. It’s a good idea to address microphone technique as well. c. If you have a band costume, be sure it is neat, clean, uniform, well fitted and worn properly (no white socks!). Remember – in a typical audience, many of the people “listen” with their eyes. A good visual impression can help to minimize any musical shortcomings you may have during the performance. d. Tune individually in the warm‐up room, not on stage. It’s a good idea to have a warm‐ up chorale or short excerpt prepared that you can play on stage just prior to your performance. (“Warm‐ups for Developing Jazz Bands” by FJH Music are a good resource). e. If you are trading out players between tunes, practice this movement in rehearsals beforehand to ensure smooth transitions. f. Check the P.A. levels, microphone placement, bass and guitar amp levels (and keyboard amp, if you are using one). Don’t get in a panic over this – take the necessary time to get it right before you begin. You don’t want any unexpected surprises! g. Remind brass players to empty the condensation from their horns between selections. h. If you have doublers, make sure their secondary instruments are warmed up and tuned. i. Weather and/or air conditioning could be an issue. If the environment is colder than that to which you are accustomed, instruct your players to blow air through their horns periodically to keep them close to body temperature.

Well, that’s about it. We hope this information will be useful in helping you refine your performances while making the most of your ensemble’s talent. If you desire help with your preparations, both of us are available for visits to your school. Russ can be reached at 407‐301‐ 5359 or [email protected]. Chris can be reached at 321‐217‐7234 or [email protected]. All of the materials from today’s presentation can be accessed at www.MSBandDirector.com.

Thank you all for attending!