IAJE-MA

International Association For Jazz Education

Massachusetts Chapter

The rhythm section may be considered the lighting in the painting created by the jazz arranger. As such, it is dynamic and flexible with arrangers leaving more room for interpretation by rhythm section players than by any other member of the ensemble. With this freedom comes exciting opportunities for creative input on the part of the jazz band director who can enter the arranger’s domain through the door of the rhythm section. Emphasis should be placed on fresh perspectives and language relative to bringing the appropriate "lighting" to areas of an arrangement rather than the reading of parts. Building rhythm section concepts early in the academic year is a small investment which will yield big dividends. The objective is to have fun while getting this section to sound great as an independent musical unit.

WHO ARE THESE PLAYERS? These young musicians often have had quite varied opportunities in music making such as rock bands, church groups, musicals, ska bands, "originals" bands, etc. Their listening and transcription experiences often far outweigh those of other band members. Directors should take advantage of this background.

HOW TO: Directors might try experimenting openly with their players, discussing results and allowing musicians to enter the creative process. Students may make suggestions and find their own comfort zone by exploring their unique strengths.

LANGUAGE: Avoid tired cliches such as "too busy" or "its dragging here".

Replace these phrases with extra-musical ones which carry visual or visceral images: thin this texture; buoyancy; drive; target area; lift; space. Point out big band vs. combo writing in the same arrangement as well as peaks and placid sections. These terms help students anticipate and react to compositional sections in exciting ways.

LISTENING: Federal law should require all directors to supply rhythm section players with professional demo recordings! Music is an aural art, after all, and these students are adept at taking musical elements from recordings. Given the strong visual memory associated with piano, guitar, vibes and bass, young players tend to memorize harmonic gestures and play

exactly the same way with each performance. When given an aural frame of reference, students may relax their approach without fear of being lost in the form, and initial voicing choices may be more stylistically appropriate. The value of listening to a professional interpretation of an arrangement early in the learning of a piece cannot be overemphasized.

RHYTHM SECTION SPECIFICS: Especially in exposed areas like solos, have only one harmonic instrument playing. This will help build reactive playing skills. Vary harmonic instruments in different compositional sections.

Drums: Think orchestration of each compositional section; simple is better; play on edge of the beat for lift; NO back beat (2 and 4) on the snare.

Guitar: Use top 4 strings for voicings; while fingering traditional left hand voicings, use fingers and pick to extract 2-3 notes; double flute or soprano sax parts. Schools might purchase a used jazz guitar (hollow body with F holes) for $300-400.

Bass: Play on the edge of the beat; stand close to and watch the drummer's ride cymbal; sound acoustic; work Latin music: Samba, Bossa Nova, Afro Cuban, Salsa.

Piano: Listen, don’t just read; relax and let others play; work comping skills.

Vibes: 3rds and 7ths of chords; double flute or soprano parts; play montunos & accents

Aux. Perc: Think coloristically (like concert band); do not play continuously; purchase good videos for basic tone strokes and stylistic rhythms; work within compositional forms.

Professor Falco is Director of Jazz Studies at Worcester Polytechnical Institute, and is a festival host and adjudicator for I.A.J.E.