Post 436: YOUR LOCAL BAND NEEDS YOU!

The world of traditional jazz desperately needs more musicians - especially young ones. I have written on this subject before (about three years ago) and hundreds of people read the article, so it seems to be a topic worth considering again.

Would you consider playing in a traditional jazz band? How should you go about it?

You must start by reaching a reasonable level of technical proficiency on your chosen instrument. If you are a complete beginner, you will need lessons to get you started, mainly to set you up with good habits. I would recommend finding a qualified professional music teacher rather than someone who happens to play traditional jazz. (Players do not necessarily make good teachers.) Make sure you learn about scales, keys, chords and arpeggios and it will help if you learn to read music, at least at a basic level. After that, practice will be your main pursuit.

If you are already a competent musician, it does not follow that you will move easily into traditional jazz. Good piano soloists sometimes find it hard to adapt to their rôle in a band. Teamwork is the key to success in traditional jazz and players of the piano, guitar and banjo have to accept that for most of the time their job is simply to lay down the correct chords, firmly and clearly, rather than display virtuoso skills.

The one exception may be highly-skilled double bass players. If they are willing to adjust to the style and hardly use the bow at all, they can contribute extremely well with nothing more to guide them than the band's chord book. I remember how, during the 1950s, there were some double bass players, members of the symphony orchestras based in London, who would finish a concert with their orchestra and then head to a jazz club where they would join a traditional jazz jam session. It was easy enough for them to jump from Handel to Handy and from Mozart to Morton.

Becoming good enough to perform traditional jazz in public doesn't mean passing lots of exams. But be warned: it can take hundreds of hours of hard work in the woodshed.

You should start early on learning some tunes from the traditional jazz repertoire - easy ones to begin with. Laissez Les Bons Temps Rouler is a particularly good and easy one as it is fun but uses very few notes and virtually only two alternating chords.

Soon you could try Algiers Strut, Tin Roof Blues, When The Saints Go Marching In, Careless Love, Down By The Riverside, and Lily of the Valley.

There are plenty of sources of printed music, such as busker's books. But an excellent site you should consult is Lasse Collin's, where there's enough to keep you going for years: CLICK HERE TO VIEW.

And here's an important tip: when you first learn a tune, make sure you learn it accurately. If you get into a habit of playing a phrase or a sequence of chords wrongly, it is very hard to unlearn them later, after the tune has become embedded in your brain and fingers.

Develop an understanding of and fluency in different keys. Those most commonly (but by no means exclusively) needed in traditional jazz are Bb, Eb and F. Next most common are Ab and C.

Listen to lots of traditional jazz - especially noting the part played by your chosen instrument - to get a feel for what is required. Use the wonderful resource of YouTube. When you are ready, try playing some tunes along with bands on YouTube. That's almost as good as 'sitting in'.

A similar idea is to play along with backing tracks. Some of these are also freely available on YouTube. This will give you a great chance to assess your progress because, if you are confident and not discordant with a backing track, the chances are you will fit in with a jazz band.

Link up with other musicians. Maybe you can form a band in your town, starting with a nucleus as a trio or quartet. Meet regularly in one of your houses to rehearse and expand your repertoire.

How do you find these musicians? Put the word around among all your friends and acquaintances. Chat in the local music shop. Advertise in the local newspaper. See whether anybody in a social group is interested (e.g. in England, the U3A). There may be a regional website on which you can seek (free of charge) other musicians.

Listen to live traditional jazz bands and talk to the musicians: they are very good sources of information about both learners and established players in the area and may be able to put you in touch with people who could join your group.

For information on which bands are playing where, there is probably a regular publication you can consult. For example, here in England we have the monthly Jazz Guide - available in clubs and from bands and also by post if you pay the very reasonable subscription (payments by PayPal are accepted). You should be able to see a sample page and full information by clicking HERE.

And specifically for the North-West of England, a gentleman called Fred Burnett altruistically runs a website giving full bulletins concerning jazz in his region: click here.

When you feel ready, begin to practise more challenging and more complex tunes: there are hundreds in the repertoire.

Unless you are a born genius, you will need to learn the standard chords and also practise improvising your way though common chord progressions. In particular, work on the Circle of Fifths and The Sunshine Sequence and the basic 12-bar Blues Sequence as these will be useful in hundreds of jazz tunes. If you don't know what I mean, look at the blog posts in which I have written about them.

Are you worried about improvising? Watch Charlie Porter's excellent videos. For an example CLICK HERE.

When your group is good enough at fifteen or so tunes, start playing gigs! You can give your band a name and offer yourselves for free to a local pub or residential home and get your band officially launched.

Also, when you have built up confidence by playing along with YouTube, ask whether you may sit in for a couple of tunes with an existing band. Most bands are so keen to keep the music alive that they readily give opportunities to anyone who shares that mission.

Make sure you give your telephone number and email address to everyone who may be able to help you in the future - especially band-leaders. It may be worth having some business cards printed.

Band-leaders and agents keep lists of musicians within a radius of seventy miles. You never know when you may receive a call to deputise for a musician who is ill or on holiday.

Eventually you may succeed in obtaining a place in a reputable well-established band. There is a rapid turn-over of personnel and a need for new blood, especially these days when many elderly musicians are hanging up their trumpets and clarinets.

Most of today's traditional jazz musicians have gone through the stages I have described above, except that in their day they did not have the enormous benefit of YouTube and such sites as Lasse Collin's to help with learning and training. In years gone by, players had to listen to records and later to cassettes in order to pick up tunes by ear and learn from the masters.

Post 333: REHEARSAL AS PERFORMANCE - INSTANT JAZZ!

How do those big street groups in New Orleans (sometimes 15 players or more) produce such good music in their 'superjams' even when some members of the band don't even know the tune a few moments before they play it?

Answer: they learn mighty fast!

We are given an insight into this process on YouTube by the great video-maker digitalalexa.

In less than forty seconds at the start of this video, a banjo player picks a tune - Who Walks In When I Walk Out, gives the others an outline of the chord sequence ('G minor... B.... Breaks on Bb...' etc.) and how they will tackle it; and off they go. No problem. Enjoy it

by clicking here.

And there's another delightful Blues in F video from this same performance - one in which Erika Lewis gets a couple of babies interested in playing the mini-piano. Watch it
by clicking here. See them even take a chorus at 4 mins. 10 secs.!

By the way, if you would like to play Who Walks In yourself, here it is:

Post 269: POLICIES AND STYLES FOR TRADITIONAL JAZZ

Art Work by my friend Peter Bunney
www.peterbunney.com

Is it better to have a small repertoire and to play all the tunes really well or to aim at a wider, more adventurous and more risky repertoire? What makes the range of jazz bands so appealing is that every band has its own policy on repertoire and style of presentation. 

For example, where I live, I get to hear five local bands and there are big differences in their policies and styles. Let me tell you about them.

BAND A

This long-established six-piece band has a wide repertoire. It plays many 'easy' standards but it also likes to include rags and classics from the early 1900s, and Jelly Roll Morton and Sam Morgan numbers. So some of its tunes are complex and require all the musicians to know the structure, with the various strains and key changes. The players dress in casual clothes. Typically, you can catch the band playing, for example, Hiawatha Rag, Blame It On The Blues, Ory's Creole Trombone and Big House Blues. The musicians get together to rehearse - but only three or four times a year, as they are scattered over a wide area. The band attracts a fair number of gigs, including some at jazz clubs.

BAND B

This six-piece band (sometimes five-piece) keeps the repertoire simple. The players wear black shirts but no ties. It specialises in easy numbers - mainly using basic chord progressions, pulsating 12-bars and tunes such as Make Me a Pallet on the Floor, C Jam Blues, Don't Go Away Nobody, Georgia Grind and Redwing. It has a rocking rhythm section including a powerful four-to-the-bar young string-bass player. There is much use of simple riffs by the front line. The music is often entirely improvised - the leader suggesting a theme for a 12-bar - and away they go. The band attracts very few gigs (perhaps it should market itself better), but audiences love it. Feet tap, people dance and nobody goes to sleep while this band is playing. From the musician's point of view, the music is not much of a challenge, but they make people feel they've had a good night out.

BAND C

This Band always dresses smartly: DJs and bow ties. For public performances the band (five-piece and sometimes only four-piece) always picks its playlist from the same forty 'simple' songs, such as Bill Bailey and All of Me. It's easy for the musicians: they know the tunes so well that they play on automatic pilot. You can count on them always to play When You're Smiling, Five Foot Two, Doctor Jazz, Down By The Riverside - in the most familiar keys. You don't hear them play anything fresh or complex. I bet the playing has become stale for the musicians. But the band is marketed well and gets some of its bookings through an agent and probably attracts more private gigs than the others. Maybe that proves something. 

BAND D

This six-piece band (with a regular monthly pub gig but not much else) never has a rehearsal and never prepares a playlist. It dresses casually. It offers a mixture of jazz standards and ballads (sung usually by the trombonist - a decent singer), mostly in the conventional keys. It's the kind of band that might play Indiana, St. Louis Blues and Fly Me To The Moon but never Chrysanthemum Rag or Kinklets. It's a typical English pub jazz band - experienced elderly musicians making reasonably good music but not getting many gigs and certainly not making any money!

BAND E

This band is distinctive in that it has a very talented lady singer as well as five accomplished instrumentalists. The band dresses smartly, in white shirts and bow ties. The leader seeks out music that is harmonically challenging and more interesting than run-of-the-mill traditional jazz tunes. Of course, the band nevertheless plays a few simple jazz standards (certainly no multi-theme pieces) but mostly it backs the singer - often in sophisticated songs with rich harmonic progressions and in 'awkward' keys - to suit her. You find them performing Blues in the Night or Black Coffee or Every Time We Say Goodbye or What a Difference a Day Made. It's hard work for the instrumentalists but more rewarding than playing on automatic pilot. I believe this band does not have many gigs but it is usually well appreciated.

I could try to draw conclusions from all this but I think you can draw them easily enough for yourself. Repertoire, costume, marketing, style of playing and of presentation: all bands have to make their own choices.

Post 174: JAZZ ON THE CANAL

Boats coming down a hill!
Here you can see three - perhaps four - of the ten locks.

Jazz Band emerging from a lock.

For five years in succession, my friend Ralph Hunt, the composer and banjo player, took his narrowboat through the famous descent of the ten Foxton Locks on the Grand Union Canal, here in the Midlands of England. Every time, we had a four-piece traditional jazz band playing on the boat. 

We performed as we descended through the locks, playing such tunes as Canal Street Blues, On a Slow Boat to China, Up a Lazy River and Down By The Riverside. The descent took about an hour.

A great crew of volunteer helpers, including Ralph's wife Anne, did all the really hard work, such as opening and closing the lock gates.

Ralph and Anne

After that, we played When The Saints Go Marching In while crossing the famous Bridge 62 (The Rainbow Bridge).

Then we gave a short concert outside the Bridge 61 Pub including Basin Street Blues by the ‘Basin’ at the foot of the locks.

Our programme included a brand-new tune that Ralph specially composed for the occasion. It is called The Foxton Rag. It is a pretty little piece that incorporates three themes and two key changes. It was a joy to play.

Every year, the Foxton event attracted hundreds of people. It was a fun occasion and we always seemed to have good weather.

In the pub.

There was for me the extra delightful surprise one year that my brother and his wife suddenly appeared: they had driven 100 miles from London just to support the event and to enjoy a brief get-together over a beer!

And I send a special word of thanks also to those of you who came along to support us. Someone once made a VERY short video of us:
Click here to view.
Canals are fine places to have a rehearsal or give a jazz concert. I recommend them.

Post 136: TUBA SKINNY REHEARSAL - 'TOM CAT BLUES'

Here's an unusual Tuba Skinny video. It shows the band informally busking in a session that is partly a rehearsal.

The video begins with Shaye and others discussing chords: she's suggesting an F# diminished at a break and - on Barnabus's prompting - that an A on the third beat might be a good idea. And so on.

Click here to watch it.

The tune is (and I am grateful to several readers for letting me know) Tom Cat Blues by Jelly Roll Morton. You can listen to Jelly Roll and King Oliver delightfully performing it (in 1924) by clicking here.

It's a two-parter, with the first theme (a bit like Nobody Knows The Way I Feel This Morning) in Bb and the second theme (reminiscent of Winin' Boy Blues) in F, both with simple, familiar chord sequences.

We must all be grateful to Lou Krause for making and posting the video.

Post 103: TALKING WITH TUBA SKINNY

During my visit to New Orleans in April 2015, I had the pleasure at last of hearing in person the wonderful young band Tuba Skinny, which I have been praising in my writings for many months. My main article about them (CLICK HERE TO READ IT) had been viewed by 20,000 people by the time of my visit. I attended three of their performances.

The picture above shows the band as I saw them on April 14th. Left to right are: Craig Flory, Shaye Cohn, Barnabus Jones, Erika Lewis, Todd Burdick, Jason Lawrence, Max Bien-Kahn and Robin Rapuzzi. At other performances they had Charlie Halloran on trombone and Jonathan Doyle on reeds.

Tuba Skinny playing at
The French Quarter Festival
in New Orleans, April 2015.

I was specially pleased to see Max Bien-Kahn playing regularly with the band (Greg Sherman had departed to the north) as I have always admired Max's strong, solid, concentrated performances with the band on YouTube, and I don't think he has had the recognition he deserves.

A bonus was that I was able to have a chat with some of the players.

I had the great privilege of a long chat with
Todd Burdick, 'Mr. Tuba Skinny' in person.

Todd Burdick is best known as the Bb tuba player and founder member of Tuba Skinny.

After Hurricane Katrina, many young musicians migrated to New Orleans. Todd moved there from Chicago and he told me that at the time you could find a pal and jointly rent a shotgun house near the French Quarter for just 400 dollars a month. (The price by 2015 had risen to 900 dollars a month.)

It was a hard life and I guess some of them soon gave up. But many settled. They made just enough money to survive by playing for tips on the streets. They started to find like-minded musicians who became their friends and formed themselves into bands. A good example was Loose Marbles - a band in which founder members were Ben Polcer and Michael Magro, who encouraged promising newcomers to pass through the band's ranks and hone their skills. Many of the musicians who developed their talents in Loose Marbles have gone on to form bands of their own. Tuba Skinny is one of those bands.

From Todd Burdick and Robin Rapuzzi (washboard), I learned a good deal about Tuba Skinny. By the way, Robin told me that as an infant he had occasionally visited Nottingham to stay with his grandmother. This appealed to me as Nottingham is where I live and am writing right now.

Robin tapes his fingers and prepares his thimbles
before performing at The French Quarter Festival.

I had often wondered how Tuba Skinny go about unearthing the obscure tunes from the 1920s and 1930s that now form a substantial part of their repertoire. Todd pointed out that it's no longer necessary for someone to have a vintage 78rpm recording. Today there is so much available, not only on re-issued CDs but even on the internet - especially YouTube. For example, the band introduced Dear Almanzoer into its repertoire in 2014. This is a lively composition by Oscar 'Papa' Celestin and was recorded in 1927 by his band. Thanks to the kindness of various YouTube uploaders, Todd said, you can freely listen to - and learn from - the Celestin original.

I had wondered whether the members of Tuba Skinny get together for private rehearsals occasionally. After all, some of their music is tricky, with complicated arrangements. Think of Cannonball Blues as a typical example: with so many surprising key changes and various ensemble phrasing patterns to remember, you can't just turn up and play such a tune. Everybody needs to have learned exactly what their rôle is at any given point. Robin told me much of the experimenting and 'rehearsing' takes place on the street. They like to play in Royal Street twice a week if possible. But they do also have an occasional private rehearsal in one of their houses, perhaps once a month. They had recently been rehearsing once a week - but this was in the lead-up to the recording of their seventh CD - Blue Chime Stomp. The recording took place over two days in early April 2015.

They told me they guessed The Smoking Time Jazz Club Band - similar in some ways to themselves, but continually playing even more complicated arrangements - surely gets together to rehearse more frequently.

I asked about the 'arranging' of the more complex of Tuba Skinny's tunes. It seems obvious that Shaye Cohn is the expert in this matter and has a big say (though she modestly claimed she does not need to do much other than 'direct the traffic' in performance). I was assured that the band's decisions are acephalous and that all contribute ideas, though it's a fact that Shaye will sometimes supply a 'chart', especially for banjo and guitar players.

I mentioned Maple Leaf Rag as an example. It had been recently introduced into Tuba Skinny's repertoire and obviously they had to decide in which key to play it (some bands go for Eb moving into Ab; but Tuba Skinny chose F going into Bb). They also had to make up their minds about which of the tune's four possible melodic themes they should play and in which order, and whether with any distinctive treatments. And they had to decide whether to include an introduction, bridges and a coda. If you watch THIS VIDEO (CLICK ON TO VIEW)  you will see what they came up with. Enjoy especially the use of those long harmonising notes in the final choruses preceding the out-chorus. When they played Maple Leaf Rag at The French Quarter Festival a few weeks later, with slightly different personnel, the arrangement was essentially the same, though with two fewer of the 16-bar final choruses, and also this time there was a two-bar coda - I guess a spur-of-the-moment Shaye-ism that took nobody by surprise! Enjoy it in THIS VIDEO (CLICK ON).

Todd told me he had recently deputised in another band which had also played Maple Leaf Rag. But their version turned out to be quite different from Tuba Skinny's. Did this cause him any difficulty? Not really. He easily picked up what was going on.

I was gratified when Erika Lewis told me she was aware of these writings of mine. She said that when they were planning a play-list they would sometimes consult my list of their tunes to remind themselves of titles they hadn't performed recently and that perhaps ought to be revived. So I have become the honorary archivist to the band! CLICK HERE to see my list.

The first time I saw Tuba Skinny in person was when they were playing in a very crowded bar. I assumed the great number of people had all gone there specially to hear the band. I was wrong. I was trapped in the middle of the crowd near the bar, unable to move and quite a few yards from the stage. But when the band started to play, I found the din  of conversation around me was so loud that I could hardly hear the music. And so it continued. I felt so disappointed for the musicians, even more than for myself: they were producing such wonderful music and yet only a few people near the stage could hear them clearly.

When I eventually met Shaye, I told her how sorry I was that the band had been treated in this way. She shrugged her shoulders philosophically and said, 'Well, it's a bar....'.

If you have a conversation with Shaye, you find she has a sharp intelligence, good humour, charm, and wisdom beyond her years. She is articulate; and yet she values her privacy: she is sweetly and admirably inscrutable.

No wonder the band still so much enjoys playing in the street, where they can be clearly heard and be given respect by people who love their music. 

I had constantly wondered how Shaye manages to create all those wonderful phrases she plays (often with a mute) as a backing to Erika's vocals and also in support when the trombone or clarinet takes the melody. I asked her whether, while playing, she was thinking her way through the chords. She paused to consider my question for a moment, as if she had never thought about the process before. Yes, she knew the chords all right; but she felt that her inventions had become 'intuitive'.

In chatting with Barnabus, I got on to the unlikely topic of diminished chords. When I hummed a particularly enjoyable phrase he had played over a diminished chord in a YouTube video some years ago, he remembered exactly the one I meant and said he had picked the phrase up from Ewan Bleach! Barnabus also told me that Shaye is particularly fond of diminished chords.

One evening I bumped into that brilliant and ubiquitous trombonist Charlie Halloran. When he told me he would be playing with Tuba Skinny the following night (deputising during a very rare absence of Barnabus Jones), I asked him how he would cope with Tuba Skinny's often complex head arrangements. What if they played Deep Henderson, for example? He said Deep Henderson would be no trouble, as he knew their arrangement well. However, he told me 'I expect they will dumb down the programme a bit to make allowances for me.'

Well, I went to the concert. And I can tell you this: Tuba Skinny did not 'dumb down' at all. They played a typical programme, complex arrangements included. And how did Charlie cope? Brilliantly. He played some wonderful stuff and, as far as I could tell, never put a foot wrong.

I enjoyed observing how Shaye prepares a playlist. At The French Quarter Festival, for a quarter hour before the performance started, she sat in her place looking at her notebooks and working out a programme. She wrote the tune titles in large lettering on a sheet of paper which she then placed on the floor in the centre of the band, so that all members could know what was coming next. I noticed how skilfully she made the programme entertaining by alternating slower and quicker tunes, and mixing instrumental with vocal numbers, and even ensuring a variety of keys.

There are many people in the UK who wish Tuba Skinny would tour here. I raised this matter with some of them. I found they would like to visit the UK, but they have looked into the matter thoroughly and discovered so many obstacles (particularly financial and bureaucratic). I'm sorry to have to say this but I can't at present see how a tour in the UK will be viable in the foreseeable future. We can't expect the band to undertake it at a considerable cost to themselves.

Having admired his work through YouTube
for some years, it was a great pleasure
for me to meet Robin Rapuzzi.

Watching Tuba Skinny perform their specials - such as Freight Train Blues and the new ones by Shaye - Tangled Blues and Blue Chime Stomp - it was such a joy to observe at close quarters how brilliant they all are, and such perfectionists.

Post 84: THE ICHNOGRAPHY OF OUR PERFORMANCES

If you are not a musician but have wondered what on earth is going on in the music when you listen to traditional jazz bands, you may be interested to know the musicians have to follow a ground plan in every performance.

At its simplest this may be nothing more than playing an eight-bar melody, with its accompanying chord sequence over and over, with various improvisations, sometimes by soloists and sometimes involving full ensemble. There may also be a few bars of Introduction and there may be a Tag or a Coda (a little tail added to the end of the final chorus); but these are not essential.

For an example, listen to Tuba Skinny playing ‘Jet Black Blues’. They do nothing more than work through the same eight bars FIFTEEN times, but with so much creativity that the performance is always interesting: 

https://www.youtube.com/watch?v=v2bZoCTPblc 

The same applies to standard 12-bar blues, in which there is a single theme.

When we play the popular tunes of the 1920s and 1930s, the familiar song, usually called the Chorus, often consists of 32 bars, so the ground plan may be: just play that Chorus without any additional material straight through, several times – to allow for solos and ensemble work.

Sometimes the song has a good Verse (often 16 bars), so the plan may be to work through the Verse once before embarking of several treatments of the Chorus – perhaps returning once more to the Verse before finishing.

But with more complex structures, notably the classically-composed tunes of the 1920s, you often find two or more themes – each a little melody in itself and each with its own chord structure.

Often there is a key change, too. So a composition by King Oliver or Clarence Williams or Jelly Roll Morton may be structured like this: 

INTRODUCTION : Usually two or four bars. 

THEME A : Usually 16 or 32 bars. 

THEME B : Usually 16 or 32 bars. 

BRIDGE (A short linking, transitional passage, often leading to a key change). 

THEME C : Usually 32 bars. 

It often happens that the band agrees to play Theme A twice and then Theme B twice and then Theme A once more before tackling the Bridge. (This is also a very common procedure with classic rags written before 1920.) After that, they may remain on Theme C, playing it several times, with various improvisations. They will probably end with an Ensemble Chorus and perhaps a Coda.

Of course, this pattern can be varied in many ways. For example, a band may choose to play a number of solo choruses on Theme B, before playing the Bridge.

These structural patterns can be traced back to such classical composers as Haydn and Mozart. Well into the Nineteenth Century such an ichnography found its way into brass band music and eventually into ragtime structures. Theme C (usually involving the key change) was often called ‘The Trio’ in classical music and was still labelled as such in the sheet music of popular tunes in the early Twentieth Century. Even today it is sometimes still called the Trio by practising musicians.

If all this makes little sense to you, let me give you a practical example. Have a look at Tuba Skinny playing ‘Cushion Foot Stomp’ and let me talk you through their performance. I am referring to this video: 

https://www.youtube.com/watch?v=VaaY2yDcnW0

This is a Clarence Williams composition with three themes. Here's how this performance is structured. 

(1) EIGHT-BAR INTRODUCTION : 03 seconds - 13 seconds. 

(2) THEME A (standard 12-bar) : 14 secs. - 29 secs. Craig leading with the main melody. 

(3) THEME B (24 bars) : Todd leading, with Shaye 'decorating' : 30 secs. - 1 min. 01 secs. 

(4) THEME B (24 bars) : Craig leading, with Shaye 'decorating’ : 1 min. 02 secs - 1 min. 33 secs. 

(5) THEME A (the 12-bar again) : 1 min. 34 secs. - 1 min. 49 secs. 

(6) BRIDGE (4 bars, leading into Key Change - Key has been E flat until now but is about to become A flat) : 1 min. 50 secs - 1 min. 54 secs. 

(7) THEME C - Classically known as the TRIO. This is the Main Theme on which the piece settles, and is to be used as the basis for improvised solos. (16 bars in Ab, always with a ‘break’ on Bars 7 and 8) : Taken by Craig: 1 min. 55 secs – 2 mins. 16 secs. (You can hear his ‘break’ at 2 mins. 04 secs. - 2 mins. 05 secs.) 

(8) THEME C : Taken by Barnabus and including the ‘break’ - 2 mins. 17 secs – 2 mins. 37 secs. 

(9) THEME C : Taken by Shaye and including the ‘break’ - 2 mins. 38 secs – 2 mins. 59 secs. 

(10) THEME C : Taken by Max and including the ‘break’ - 3 mins. 00 secs – 3 mins. 19 secs. 

(11) THEME C : Taken by Todd and including the ‘break’ - 3 mins. 20 secs – 3 mins. 41 secs. 

(12) THEME C : Taken by Robin and including the ‘break’ - 3 mins. 42 secs – 4 mins. 02 secs. 

(13) THEME C : Taken by the full ensemble but with the ‘break’ allocated to Todd - 4 mins. 03 secs – 4 mins. 23 secs. 

(14) CODA (4 bars) : Initiated by Robin – 4 mins. 24 secs – 4 mins. 30 secs. 

For a performance to come out as slickly as this, all band members have to remember the agreed ichnography as well as the three principal melodies and the chord progressions.