Transcript OH THE SWING

OH THE SWING
Understanding the Music of
Count Basie & Duke Ellington
Jarritt A. Sheel
Florida Agricultural & Mechanical University Tallahassee, FL
Degree Earned: B.S. Music August 2005
Emphasis of Study: Trumpet Performance, Jazz
Northern Illinois University DeKalb, IL
Degree Earned: M.M. Jazz Studies May 2008
Emphasis of Study: Jazz Performance/ Jazz Pedagogy
Graduate Teaching Assistantship: Jazz Studies Department
Pi Kappa Lambda, John H. Clarke Honor Society, International Association of Jazz Educators: NIU
Chapter (Pres 2007/2008), Kappa Kappa Psi: Delta Iota & Kappa Nu Chapters (Pres 2002), Jazz
Journalist Association, International Trumpet Guild, Black Graduate Student Association (Pres
2006-08), NAACP
Valencia Community College
Orlando, FL 2009 - Pres
Adjunct Music Faculty/ Classes: History of Rock & Jazz, Music Appreciation, Music
Theory
Ocoee High School
Ocoee, FL Aug. 2010 - Pres
Assistant Band Director Jazz Band, Marching Band
Valencia Community College Jazz Camp
Jazz Camp Director
Orlando, FL 2009 - Pres
COUNT BASIE
Meets
DUKE ELLINGTON
TRAVELING MAN…
FMEA
Florida Music Educators Association Convention
Saturday January 15th, 2011
10:00am
OUTLINE
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“Improvisation”
The reason why most students join the jazz band
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“Benefiting from the Swing”
Understanding how you, your ensemble can benefit from performing swing era music (1930’s
-1940’s)

“Dance Music = Popular Music”
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“Dealing with that Swing”
Difference Between Basie’s and Ellington’s Rhythm Section

“Building Character: Through Playing the Dynamics in the Music.”

“Music Selection: Programming/Rehearsing”
IMPROVISATION
This is one of the main reasons why students join the jazz
band, to explore the magical world of improvisation.
Improvisation is not something that can be taught, but rather
something that can be facilitated.
The best way to teach students about improvisation in jazz,
would be to start in the genre of Blues and learn the concepts
of bended notes, blues intervals, patterns, and melodic lines.
This is usually the hardest element to work on, but the element
that has the potential to create the most enjoyment.
IMPROVISATION cont.
GREAT WAYS TO PROMOTE IMPROVISATION
1)
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3)
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5)
Listen Listen Listen (Great way to deal with form)
Transcribing Solos
Give them a recommended list of recordings, videos,
and books
Assign various legendary big band soloist,for your
students to mimic their style from vibrato, note
length, and note choice in improvisation.
Practice “Call & Response” exercises with your
students daily. Begin with the blues form.
BENEFITING FROM THE SWING
The main focus of this presentation today, is to expose high school & middle
school band directors to the wonderful music/charts of Duke Ellington and
Count Basie. These aren’t the only swing era big band leaders/composers…
BUT their music is the apex of this genre.
The idea for this presentation came as an epiphany, after sitting through
many high school and middle “jazz band” concerts. Witnessing the
“Swingless” concerts that take place every month across the USA. Seeing
the excitement that many children approach the study of jazz with,
disappear after performing a variety of pop tunes during the one concert a
year or the holiday season.
There are soo many qualities, such as; leadership, problem solving,
creativeness, etc. that can be cultivated through performance of this great
American art form.
BENEFITING FROM THE SWING cont.
Both student and teacher can benefit from performing this great music. Big
Bang-Swing Era music was composed,developed and performed during the
high point of Jazz Music’s popularity the (1930-1940’s). This
also…coincidentally was during the great “Dance Era” in America.
So, in order to truly benefit from this music, you must explain to your
students the importance of the dance element that is inextricably
connected with this era of the music. As the instructor, you will benefit from
this music as it develops your;
Metric Division (SWING)
Cultural awareness (HISTORICAL DEVELOPMENT)
Impromptu creative development (IMPROVISATION)
BENEFITING FROM THE SWING cont.
Your students can also look forward to attaining development in each of
these areas if study is taken seriously.
Metric Division (SWING)
Cultural Awareness (HISTORICAL DEVELOPMENT)
Impromptu Creative Development (IMPROVISATION)
Now… some of you are probably thinking how can I get students to take this
serious when they can’t take the study of classical music serious? Well… my
answer to that is you should explain to them how this is America’s first great
classical music. This is one of the few music forms that was expressly a
development of the dance era in America and a by-product of American
Genius and know-how.
DANCE MUSIC = POPULAR MUSIC
To understand Swing Music, you have to comprehend that the
popular music of the day 1930-1940’s …was swing music. We have
to then realize almost all popular music, like today’s music have
dance moves associated with them.
The historical development of particular swing dance styles was
often in response to trends in popular music. For example, 1920s
and solo Charleston was - and is - usually danced to 2/4 ragtime
music or traditional jazz, Lindy Hop was danced to swing music (a
kind of swinging jazz), and Lindy Charleston to either traditional or
swing jazz. West Coast Swing is usually danced to Pop, R&B, Blues,
or Funk. Western Swing and Push/Whip are usually danced to
country and western or Blues music]. There are local variations on
these musical associations in each dance scene, often informed by
local DJs, dance teachers and bands
DANCE MUSIC = POPULAR MUSIC cont.
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Lindy Hop
Charleston (dance)
Shag
Balboa
West Coast Swing
East Coast Swing
Hand Dancing
Jive, Rock and Roll
Modern Jive
boogie woogie
Rock'n'roll
“DEALING w/ the SWING”
As we get to the crux of the matter… we deal with the difference
between Count Basie’s Rhythm Section and Duke Ellington’s
Rhythm Section.
COUNT BASIE
(4 Piece Rhythm Section) Guitar, Piano, Bass, and Drum Kit
The Guitar, FREDDIE GREEN (g), functions as the main chordal instrument
(middle) with the Piano playing a very minimal role. The drum kit, should
always be able to switch between Ride cymbal and Hi-Hat, from cymbal to
cymbal slowly introducing the various elements of the drum kit.
In the Basie rhythm sections of the 1930’s the drummer would place
the quarter note pulse in the bass drum/kit drum which would
emancipate the rest of the band.
Piano - Minimal Role
Guitar - Comping/Chordal
Bass - Quarter Note
Drums - Quarter Note
“DEALING w/ the SWING” cont.
DUKE ELLINGTON
Piano, Bass, and Drum Kit
(3 Piece Rhythm Section) Piano, Bass, and Drum Kit
The Piano functions as the main chordal instrument with a wide range of tones. The
piano plays a variety of roles ranging from the conductor to the comper. The drum
kit, should always be able to switch between Ride cymbal and Hi-Hat, from cymbal
to cymbal slowly introducing the various elements of the drum kit. The Bass is such an
important element that helps lock in the swing and the harmonic
foundation.
The Elllington rhythm sections of the 1930’s 1940’s were very classical
oriented and worked to get a wide variety of tones, colors and perform a
wide variety of genres. The drummer would place the quarter note pulse in
the bass drum/kit drum which would emancipate the rest of the band,
while locking in with the bassist to create a believable swing.
Piano - Comping/Chordal
Bass - Quarter Note + Drums - Quarter Note = SWING!!!
“DEALING w/ the SWING” cont.
In order to create a convincing “SWING” feel there are a couple of
things that to consider. Listed below…
- Many rhythm sections are weak. The reasons for this are
1) students don’t understand that jazz is dance music and rhythms
should be danceable. If you can’t dance to it then… it ain’t swing.
2) most players on bass, drums, and piano have small and timid
sounds: i.e. drummers sound plastic and restricted; bass players are
not pulling sound out of their basses; and pianist lack technical
command
When the rhythm section is weak the WHOLE BAND suffers!!!
Solution:
Remind them that the rhythm section is the heart of the band. You
have to direct them to artist who “SWING” and encourage/schedule
sectionals.
“DEALING w/ the SWING” cont.
3) Have students concentrate on rhythm. In jazz, every instrument is also a
drum. Instruments most be played percussively..NOT LOUDLY.
4) HOLD GOAL ORIENTED SECTIONAL REHEARSALS!!!
5) Now-a-days, because we don’t sing as a culture, kids have a problem
singing through their horns. Every melody should be sung without ashame
and with clarion soul.
6) Let every student find a “thrill in the heel” or count the “sugar daddies”
aka triplet feel. in order to get everyone on the same beat. The common
mistake that we all approach music with…is that there are people with and
without rhythm. Everyone has rhythm, or time… the difference is, that
everyone’s idea or feel of the quarter is different. SO, you have to get your
students counting in order to create an all-around swing in your ensemble.
BUILDING CHARACTER:
“Through Playing Dynamics in Swing Music”
This section is pretty self explanatory. Challenging students with
really playing everything in the music really helps to reinforce
character traits like: dedication, discipline, courageous, logical,
patient, humble, etc.
In general, the pieces requiring swing get weaker and weaker as they
go along because most modern music students aren’t used to
concentrating for more than a couple of minutes. Even though it’s
difficult, we should encourage them to reaffirm the rhythm the
same way a coach begs his or her team to hustle in the final quarter
of the game. We have to play with more rhythmic authority and
verve. We have to use this great music form as a way to teach
culture/ history, children to be responsible, develop good character
traits, and encourage problem solving.
MUSIC SELECTION:
PROGRAMMING/REHEARSING
I know many of you are thinking..this seems almost as hard as a
figuring out how to get the band swinging, but it is rather easy.
There is a tried and true method that we all can take advantage of.
Here is a formula that can help you out.
Formula for success:
Fast + Slow + Latin + Medium Swing + Ballad + Fast + Blues = Great Concert
Figuring out the selection can sometimes be as easy as selecting a
particular composer of band and doing their songbook or doing a
group of related artist. Many of the big band would interchange
artist like Clark Terry, who was both in the Basie Band and Ellington
Orchestra.
RESOURCES
LINCOLN CENTER: ESSENTIALLY ELLINGTON PROGRAM
ELLINGTON 101, Essentially Ellington Competition, Jazz at Lincoln Center: Podcast
National Endowment of the Arts (NEA)
Jazz in the Schools, Jazz Masters
Charles Mingus
Charles Mingus High School Competition
Savannah Music Festival
Swing Central High School Jazz Band Competition & Workshop
University or College Jazz Bands
it is a great way for them to recruit for their programs and a awesome way to get
clinics and workshops for your band program
Recordings:
Lincoln Center Jazz Orchestra
Count Basie Orchestra
Duke Ellington
Thad Jones - Mel Lewis Orchestra
Benny Goodman Orchestra
Lionel Hampton
RESOURCES cont.
Additional Resources
The Duke Ellington Society
P.O. Box 15591
Washington DC
20003-0787
Smithsonian Jazz Masterworks Orchestra
Smithsonian Institution
NMAH 4100, MRC 616
P.O. Box 37012
Washington, DC 20560
National Endowment for the Arts
1100 Pennsylvania Ave. NW
Washington, DC 20506
Jazz at Lincoln Center
33 West 60 Street, Floor 11
New York, New York 10023
RESOURCES
cont.
Videos:
Anatomy of a Murder (1959)
Ken Burns Jazz (2000)
On the Road with Duke Ellington (1967)
Books:
Teaching Music through Performance in Jazz by Wynton Marsalis,
Ronald Carter, Ron McCurdy, Reginald Thomas, and Ron Modell
COUNT BASIE
(August 21, 1904 - April 26, 1984)
William "Count" Basie (August 21, 1904 - April 26, 1984)
was an American jazz pianist, organist, bandleader, and composer.
Basie led his jazz orchestra almost continuously for nearly 50 years.
He was closely
COUNT BASIE
Vital Statistics
 Rhythm Section
– As a leader he set new standards for the rhythm section in the swing style. His
rhythm section could convey a relaxed feel, swinging without being heavy
handed. Basie’s rhythm section became the model for the rhythm sections of
Louis Jordan and other great early R&B groups of the 1940’s and 1950’s.
 Piano Style
– His distinctive minimalist piano style made superb use of space, and his choice of
notes was flawless.
 Use of Riffs
– His band pioneered the use of riffs in jazz. Originally a Kansas City jazz style, the
practice later became common in bebop and R&B.
 Influential Big Band Arrangements
– Basie was fortunate to work with talented arrangers such as Neal Hefti, Quincy
Jones, Frank Foster, and Sammy Nestico. His band codified the big band style.
Many Basie arrangements were published and widely distributed for high school,
college , and professional big band ensembles.
DUKE ELLINGTON
(April 29, 1899 - May 24, 1974)
Edward Kennedy "Duke" Ellington (April 29, 1899 - May 24, 1974)
A prominent figure in the history of jazz, Ellington's music stretched into
various other genres, including blues, gospel, film scores, popular, and
classical. His career spanned more than 50 years and included leading his
orchestra, composing an inexhaustible songbook, scoring for movies,
composing stage musicals, and world tours. Several of his instrumental
works were adapted into songs that became standards. Due to his inventive
use of the orchestra, or big band, and thanks to his eloquence and
extraordinary charisma, he is generally considered to have elevated the
perception of jazz to an art form on a par with other traditional genres of
music. His reputation increased after his death, the Pulitzer Prize Board
bestowing a special posthumous honor in 1999
DUKE ELLINGTON cont.
Vital Statistics
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One of the greatest composers of the 20th century
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Composed nearly 2,000 works, including three-minute instrumental pieces, popular
songs, large-scale suites, scared music, film scores, and a nearly finished opera
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Developed an extraordinary group of musicians many of whom stayed with him for
over
50 years
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Played more than 20,000 performances over the course of his career.
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Influenced generations of pianist with his distinctive style and beautiful sound
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Embraced the range of American music like no one else
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Extended the scope and sound of jazz
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Spread the language of jazz around the world.
The 10 of the Most Common Mistakes
That Jazz Band Directors Make
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Why join JAZZ BAND if you’re going to perform pop arrangements?
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LISTENING to recordings, is something you have to help foster
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What makes jazz band fun, is the fact that the music is fun,
creative, and interesting getting the style totally correct is hard
enough
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This is a team, highlight your strengths and weakness.. that is the
only way to improve
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This is why most students join jazz band, to attempt something
extraordinary
The 10 Most Common Mistakes That
Jazz Band Directors Make cont.
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DUKE & BASIE did it …. so why wouldn’t you
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Help them develop, give them responsibility and opportunity to
achieve
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The kids aren’t working for you, rather you are both work together
to achieve. So, pick achievable charts
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Stop being stubborn, there are always people who are better
informed, use their expertise
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PERFORM, be more than just a band director/teacher⑹continue to
perform
Why join JAZZ BAND if you’re going to
perform pop arrangements?
1) Playing only pop arrangements
In this case the director thinks that if his jazz ensemble only plays
arrangements of current pop hits, that it’ll keep the kids interested. Many
music publishers has a division that creates simple arrangements of simple
popular music. In many ways you can’t blame them since many educators
purchase them yearly. They are in the business of making money. Most of
these charts are played only in the first year that they’re purchased and are
then quickly relegated to the “dead music” section of the music library.
Directors must understand that publishers always offer the good, the bad,
and the ugly when it comes to jazz band arrangements.
I’m not trashing pop music. It’s just doesn’t provide the best route for
creating a good big band arrangement or teaching swing traditions.
Tradition as well as practice has proven that the music we call jazz, as well
as “Standards,” seems to work best as the source material for most big
band music. What is sad is that we tend to underestimate what students will
accept and will like. With a little time and understanding, most students will
come to accept, love, and even demand this style of music
LISTENING to recordings, is something
you have to help foster
2) Not playing recordings for students
If Directors wonder, “How do I get my band to play Basie-style charts
better?” Logic says, “Play some Basie recordings for them.” Most directors
expect some miraculous rehearsal technique but it is usually the simple and
obvious that works the best. We all know that music is an imitative art form.
Jazz, in particular, has a variety of musical elements that just cannot be
accurately notated. Students must have frequent modeling from
professional sources in order to fully develop as musicians. (GO FIND THESE
SOURCES) Next to sight-reading, regularly playing quality recordings for
your students is the most effective thing that you can do to improve your
band. It may take some time for the style to be ingrained in their
memories…but it does work. Playing your students recordings of a great
professional band playing as students are they arrive into each rehearsal is
an easy way of accomplishing this.
What makes jazz band fun, is the fact that the music
is fun, creative, and interesting getting the style totally
correct is hard enough
3) Playing arrangements just because they’re hard We’ve all heard charts
like these: the brass play in the stratosphere through the entire piece, the
saxes seem to have one technically impossible soli after another, the
changes are unbelievably complex, it seems to hit every musical feel –
Swing, Rock, Ballad, Latin, the tempos are blistering, and it musically stinks!
Music Educators everywhere call these charts… “DUMB.”
With the emphasis on competition, some directors reason that the tougher
the chart, the more it will showcase their band. While this thinking may
occasionally help win a competition, it does so at the expense of musically
cheating the students involved of an successful, enjoyable experience. It’s
never musically or educationally sound to choose a any chart for your band
just because it sounds (or looks) technically tough. You should choose a
chart because you’ve heard it and it sounds like something that your
students will enjoy and learn from. An arrangement should first and
foremost always have some musical merit.
Remember: why waste any time playing bad (or even mediocre) charts
This is a team, highlight your strengths and
weakness.. that is the only way to improve
4) Using the jazz ensemble like a super big combo
This type of jazz ensemble suffers from a real identity crisis. These typically
are groups that are made just to showcase the great young soloist, and
neglects the development of the rest of the groups members. Often, the
director will have a strong background in jazz improvisation, but lacks
experience with (or appreciation of) the Big Band as an ensemble. They may
believe that they’re actually doing the right thing by making jazz
improvisation the primary focus of their group. In the Swing Era, the focus of
the ensemble…always was… making music that the audience could dance to.
Directors must remember that the big band has always been an arrangers
medium – perhaps more than any other type of musical ensemble. The
amazing sounds of bands like Stan Kenton, Count Basie, Woody Herman,
Buddy Rich, Maynard Ferguson, and many others can all be faithfully
recreated because of the wonderful arrangements that have been left
behind. Today, arrangers are still forging great new charts for the medium.
Yes, improvisation is an important part of the big band as we know it, but it’s
just not the most important part. A good jazz ensemble should always be
centered on playing quality arrangements that feature the entire ensemble
first and the soloist second.
This is why most students join jazz band, to
attempt something extraordinary
5) Never working on jazz improvisation
Never working on improvisation with your students can be just as bad as
making it the only focus of your jazz ensemble program. Jazz solos are an
important part of most big band arrangements. Unfortunately, most
directors try winging it on the concert with little to no instruction or
direction for the soloist. Most of the time this is because the director has
had little or no experience with improvisation and feels less uncomfortable
trying to teach it.
The director in this case must either confront his or her lack of knowledge
or bring in outside professional help to remedy the problem. Many colleges
and universities offer summer courses and clinics dealing with jazz
improvisation and how to teach it. For instance, Jazz at Lincoln Center has a
band director workshop during the summer months. Although taking a
course like this may require some time and humility, it’s usually well worth
the effort, and can be subsidized by administration and/or band booster..
Like this clinic. The quickest (and perhaps best) way to deal with teaching
improvisation is to bring in outside help. This outside person can be either a
local professional musician or a qualified college instructor. However you
choose to incorporate improvisation instruction into your program, it needs
to be done on a regular basis. Unless you have a healthy jazz combo
component as part of your overall program, you should probably work on
improvisation at least a little bit at each jazz ensemble rehearsal.
DUKE & BASIE.. did it and why wouldn’t
you…?
6) Not sight-reading with the jazz band
Unfortunately, this is a side effect of having great high school jazz
competitions like Mingus, Swing Central, and Essentially Ellington. Many
directors will then budget rehearsal times specifically for the 3 or 4 tunes
they’ve selected to play at competitions that year. They may feel that
arranging time for anything else is a waste time.
I believe that besides listening activities,.. Sight-reading is the absolute
best tool that a director can use to increase the strength and independence
of their band. Teaching concepts should be job number one, not…rote
teaching of rhythms. We are here to facilitate mastery. A director who
teaches his band to sight-read will find that they can learn tough
literature faster than they previously did. Starting your rehearsals by sightreading an easy to medium difficulty chart (grade 2-4) will quickly help
improve any high school (or college) band. Most school libraries have many
arrangements just sitting in mothballs that could easily be used for this
purpose. I’m always amazed and perplexed as to why more school groups
don’t use this easy, but incredibly effective program building tool. These
are the same tactics used in wind ensembles across the world.
Help them develop, give them
responsibility and opportunity to achieve
7) Using more than one student on each part
Sections will almost always have two students playing the lead part. This is
totally taking away the students opportunity to grow. This typically is done
to help strengthen the sound of the ensemble, but usually ends up doing
the exact opposite for intonation.
Big band charts are arranged specifically for one person per part, and it
shouldn’t be that surprising how much better they sound when played that
way. When there is only one on a part it teaches young players to be
stronger, more independent, and play better in-tune. If you absolutely must
have an extra person (only one, that is) in a section, never double the lead
part. Have the student double a lower part (4th Trumpet, 2nd Tenor, or 3rd
Trombone).
The kids aren’t working for you, you are
both work together to achieve. So, pick achievable
charts
8. Ruining your young lead trumpet player
This is another problem that is most common with high school bands that
are usually pretty strong. Many of these bands are playing charts that are
just way too ambitious for most high school lead trumpet players. Bands like
these usually have a brave kid playing lead that is squealing and screeching
like the devil just trying to cover the part. Because human beings are such
adaptable creatures, a few young players actually learn to make it work
I’m deadly serious when I say that 99% of all high school trumpet players
are just not physically prepared for extreme register work (above a written
high D E or F). The problem arises when kids are forced to deal with these
range expectations before they’ve developed a full, mature sound. The irony
here… is not about the physical constraints… but rather the style issues that
are still inherent in the music. There are so many bad things, long lasting
issues, that will arise if these young people are forced into this role too
soon. A professional lead trumpet player, who also teaches, should first
evaluate promising young lead players before introducing them to any
extreme range work.
Stop being stubborn, there are always
people who are better informed, use their
expertise
9) Never using outside help
This is the downfall of most directors, I know that high school and
some middle school band directors tend to be rather independent,
but this is crazy. All band programs, jazz and otherwise, should at
least occasionally bring in outside specialized help a couple of times
a year. To not do so is to depriving your students of new, fresh, and
effective musical perspectives.
Jazz ensemble is somewhat complex, and the varied and detailed
requirements needed to make a great jazz ensemble demand at
least some specialized aid. Don’t be afraid…. outside help may be
free as air. There are many professional musicians and nearby
college faculty that are willing to help high school programs for little,
reasonable, or no compensation. You’ll never know until you ask!!
PERFORM, be more than just a band
director/teacher. Continue to perform
10)Directors not having a performance outlet for themselves
Believe it or not, some high school jazz ensemble directors have never been
a member of jazz band themselves! This largely depends on whether or not
the college they attended required it for teaching certification. I believe that
to be truly effective, every jazz band director must have some experience
as an adult player in such a group. If a director didn’t get this experience in
college, there are many outlets/ other ways to accomplish this. Summer
college ensembles, reading bands, community groups, rehearsal bands,
and even professional organizations (depending, of course, on personal
ability) can all help provide the necessary experience.
I believe that all scholastic band directors, regardless of past experience,
must have a continuing personal performance outlet. All musicians (this
includes directors) have an inherent need to perform. If not fulfilled, this
need is often replaced by living vicariously through directed student
ensembles. This can be an unhealthy and educationally destructive
situation. I sincerely believe this is in large part behind the single-minded
focus on competition that is present in many high school band directors.
FAMOUS QUOTES
“It's like an act of murder; you play with intent to commit
something.” - Duke Ellington
“Art is dangerous. It is one of the attractions: when it ceases to
be dangerous you don't want it.” - Duke Ellington
“If you play a tune and a person don't tap their feet, don't play
the tune.” - Count Basie
“Of course, there are a lot of ways you can treat the blues, but
it will still be the blues.” -Count Basie