The Sounds of Jazz Pt. 3: Performing in a Big Band

Ahoy!

Over the past two weeks I’ve discussed big bands old and new. You can listen to, and admire, these groups, but what is it like actually playing in this type of ensemble? While I haven’t had the chance to work in a band with the prestige like those I’ve discussed, I played in a big band during my time as an undergraduate, I currently play in one as a graduate student, and I was regularly called for reading sessions in my gap years. These experiences were vital to my musical foundation and the lessons learned working in these groups continue to shape how I approach working with every group I’m in, jazz or not.

The biggest lesson I learned as an undergraduate was learning how to learn music. Prior to collegiate playing all I really focused on was being able to play my parts. However, just because I can play my part doesn’t mean I’m making music, or even that I’m fitting in with what everyone else is doing. Now I think of ensemble playing as having three layers: 1) my role as an individual, 2) my role in my section and 3) my role in the whole ensemble. Let’s break this down.

Firstly, it is imperative that I know my part. I think most of us understand this concept, however, I see many musicians who use rehearsal time to learn their part. This is fundamentally wrong. Rehearsal time is for step three, putting the whole piece together. If you don’t know your part, how can you expect to fit the whole piece together? It is my job as a musician in the ensemble to spend enough time in the shed that I know my part on its own. Again, I think we all get this though so let’s move on.

Step two is another thing I often see young musicians skipping over; learning how your part fits into your section. In case you missed the first big band post here’s a brief recap. A big band has several sections: the rhythm section (piano, bass, drums, and/or guitar), the saxophone section, trombone section, and trumpet section. As a bass player, I fall into the rhythm section category. As I mentioned earlier, just because I know my part, doesn’t mean I’m fitting in with my section properly. Here we insert a rehearsal time called a “sectional.” This is a time, outside of the normally scheduled full band rehearsal, where just the rhythm section meets and figures out what we’re all doing. Listening to everyone else is critical. Am I fitting in with what the drummer is playing? Did the piano and I play that phrase the same way? Are we all matching the hits exactly? These are just a few questions that get asked. Attention to detail in these sectionals is crucial. Often times I’ll meet with just the drummer or piano separately to lock in certain sections, and then have a full sectional.

If you have a command of your own part and have put things together in your section then step three is a lot more fun: putting the music together with the full ensemble. As with all music, listening here is crucial. Is anyone else playing that phrase with me? How do my hits relate to the rest of the band? Am I with the (insert section), or playing counter to them? There are so many details to be addressed that in rehearsal I’m generally listening more to what everyone else is doing than to what I’m playing. This only works if I truly know my part. Obviously, the harder the music is the longer this takes but you should strive to make this as seamless a transition as possible.

One tactic that I have found to be astoundingly helpful is simply to play along to the recording of whatever chart I’m working on. Earlier this year I had a chance to perform Duke Ellington’s Such Sweet Thunder suite. I must have played along to the recording dozens of times on top of listening to the music while following along with my chart on top of just general listening. Practicing with records is the only time I enjoy the fact that my iPhone speakers have zero bass in them. I essentially get a play-a-long minus bass that I get to fit into. As a result I knew the piece well, and knew how I fit in with everything.

The more you live the music, the easier it is to internalize it. Now go shed!

Until next time,

Heard

HAVE YOU HEARD?
Duke Ellington- Such Sweet Thunder

This is an amazing composition by the Duke. It's a 12 movement jazz suite based on the works of Shakespeare and beyond that, it needs no introduction. Provided for your convenience is a link to a YouTube video of the whole suite. Despite being 12 movements the whole work is only 40 or so minutes and is definitely worth your time.

Video Courtesy of YouTube