Pianist Chris Reilley has submitted articles for use in this Blog before - most recently on the subject of Boogie-Woogie.
Chris has now emailed the article below to me. I hope you will find it of interest.
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Part
two of the various Devices:
Breaks, Stops, Riffs, Rhythms and More
article which I submitted in February this year, I would like to
cover three other aspects which could be considered whilst playing
Traditional Jazz namely Key choice and changes Tempo and Volume.
Choosing
the Key and Key Changes
Recently
I was enthralled by a recording made by the Shotgun Jazz band called
“You
Always Hurt The One You Love” with
the vocal being taken by Marla
Dixon (trumpet and leader). In this recording the ensemble is played
to begin with and just before the band goes into the Vocal
they change key – normally this would be to suit the singer's
choice of key for singing. However the band revert back to the
original key for the following ensemble and then lo-and-behold Marla sings again in the ensemble key.
For
me this is the first time that I have heard any vocalist attempt to
do this, as usually the reason for the change of key is because the
melody line is outside the vocalist's range.
More
often than not a proposed change from the original composed key (say
from one of the sharp keys) is to make the tune easier to play for Bb
Instruments. For example Concert G Major (1#), D Major (2#'s), A
Major (3#'s) etc. would normally be transposed to the nearest (or
easiest) flattened keys:- Concert F major (1b) or Ab Major (4b's), C
Major (natural) or Eb Major (3b's), Bb Major (2b's) or Ab Major
(4b's). Note these are all shown in Concert Keys whereas the Bb
Instruments reading their parts would refer the key of Bb major to
their key as C Major.
(Note
I found this so confusing when I started to learn to play both
Clarinet and Trombone that I thereafter memorised the note names on
my instrument as the Concert key names.)
All
of these choices have to be moderated by the musical range of both
the instrument and musician. Some tunes require a very large range
with some instruments naturally limited to something like one and a
half octaves (not counting the musician's limitations) and in some
cases the top end of the available notes might be slightly out of
tune (this is especially a problem with Keyed Instruments where the
musician has to “bend” the note to keep in tune).
There
is no doubt that being able to play in numerous keys is very
desirable but it is far easier playing those tunes that are more
natural to the instrument and it makes improvising (a salient part of
playing Jazz) far easier as well.
Unfortunately
the obvious choice for many Jazz Bands is to play a lot of tunes in
the easiest keys of concert Bb, Eb and F Major. Whilst this might be
the easiest of choices it tends to make for a “Repetitive” range
of sound and for those who want to “stand out from the crowd” it
might be wise to include tunes in other more uncommon keys.
The
use of a change of key whilst playing a chorus (or the main theme)
can add interest to the tune for the listener. One example of this
can be heard when some Bands play a tune like Tiger Rag where the
last chorus is played say a whole tone up from the previous chorus.
Eg. the penultimate chorus is in Ab and the last chorus is in Bb.
There are numerous examples of this which can be accessed on YouTube.
Another
way for Bands to stretch their ability is to play tunes that include
several parts, such as those that have a verse (usually in a
different key from the chorus), or the more complicated Rags, Stomps
or Marches. Not only do these change key from part to part, but the
original arrangement (if followed) has other features including
“Breaks”, “Riffs”, “Stops” Tempo Change, Latin Rhythms,
Minor Strains, etc.
A
good guide is to listen to recordings of the Masters playing the
tunes you enjoy, but take into account that the equipment used in the
early days was not as accurate in respect of timing compared with
more modern day so
that some recordings could be as much as a tone different to the live
performance, so for example if a recording appears to be in D Major,
it was probably recorded in Db, if it appears to be recorded in Db it
was probably recorded in C Major and most commonly if it appears to
be recorded in B major, it was probably recorded in Bb.
Fortunately
we are now blessed with Computer Software that can easily correct
this deficiency.
Choosing
the Tempo
As
this can be a more contentious subject, I would like to re-iterate
that these words represent my view only and hopefully others will
agree.
The
first point I would like to make is that the tempo a tune is played
at out reflects how the Band intend it to be heard i.e. “Fast”,
“Medium” or “Slow” and all the varieties in between. This is
usually decided by the leader of the Band and either counted or
“tapped in”. Another criterion I would consider important is that
of “Swing”. (One way I have found helpful to listen for the
“Swing Element” is to listen to the tune being played - or play it
solo yourself - and see if you can feel the rhythm throughout.)
I
use an example which I have used before of Wynton Marsalis playing
“Buddy Bolden's Blues”:-
It
is not necessary to watch the Video because you can feel the “swing”
from just the audio.
I
think most Dancers would prefer that any tune would be easier to
dance to if it “swings” as this is the natural rhythm of the
tune. As Jazz was more often a “dance music”, I think we ought to
be guided by that.
The
most common problem I have come across is that of playing a tune too
quickly (racing) or at the other end of the scale, playing it too
slowly (dragging). With the faster tunes there are several
considerations to be made:-
If
there are established complicated many-note solos or ensembles
required (for example High Society where the Clarinet plays the
famous Alphonse Picou solo) the tempo needs to take this into
account.
If
there is a Vocal in the tune, the speed has to take account of the
singer being able to sing all the words throughout the song without
difficulty. As examples, here are two approaches to two different
tunes, each played at different tempos:-
Two
versions of “There'll be Hot Time in the Old Town Tonight:-
Two
versions of “Down in Honky Tonk Town”
Using
the “dancing to” yardstick I cannot see anyone preferring the
faster of the two tunes. This is however my own personal opinion.
Some
of the slower tunes conversely should not be played so slow that
they “drag” and yet nor played too quickly and lose the finesse
of the melody.
A
very great bone of contention for me is when a Band loses control
of a steady tempo of any tune, excitement creeps in and away it
goes. I confess to being guilty of this myself, but I have learnt to
try and control it and as part of the Rhythm Section it is part of
our job to try and steady any “racing” down. It is most helpful
for the “front line” if the rhythm is kept steady as they want
to be able to play their improvisation neatly around the rhythmic
accompaniment.
Choosing
the Volume
In
days gone by there was no such thing as Amplification or Electronic
Instruments on a Concert Stand, Dance Hall, Concert Hall, Marching
Band instrumentalists were positioned (in most cases) according to how loud they were.
In the Recording Studio a similar approach was taken with the weakest-sounding instruments being closest to the “Recording Horn”. From
photographs of Jazz Bands performing on Stage it can be seen that a
common line up position was arrived at with the line up usually being
(facing the Band: “front line” left – Trombone, Centre –
Trumpet/Cornet, Right – Reeds (Clarinet/Alto Sax/Tenor Sax). “back
line” left – Drums, to his right (with a four piece back line)
String Bass/Brass Bass, next right - Piano next right and sometimes
part of the “front line” - Banjo/Guitar. The leader would usually
be the Horn Player and he/she would usually call the tune to play and
set the Tempo. The overall sound would be adjusted most likely by the
Drummer who would bring the volume down for the quietest instruments
– Clarinet, Bass, Piano and Banjo solos and/or vocals.
At
some point the playing volume might change to allow for the larger
auditorium and towards the end of a tune. I suspect much of this
detail was sorted out at a practice when all arrangements were
thrashed out as well.
Then
came along electronic amplification and everybody was “miced up”
and thereafter the Band Sound was in the hands of the “mixer boys”
or in the more hospitable venues, the band used their own portable gear (sometimes less than great) and had to check the
sound mid-session.
In
my experience the audience soon let you know if you are playing too
loudly.
I
hope this information does not discourage anyone who may be reading
this and who is interested in starting or joining a Jazz Band. I can
assure you that playing jazz with other people in a band can be very
enjoyable, particularly when it goes well.
