Building a Better Jazz Ensemble: Effective Methods

for Getting the Most Out of Your Jazz Groups

NSBA Summer Convention
July 5-8, 2006
New World Inn, Columbus, NE.
Dr. Paul Haar, Assistant Professor of Saxophone, Jazz Studies, University of Nebraska-Lincoln
231 Westbrook Music Building, Lincoln, NE 68588-0100
(Email: paul@paulhaarmusic.com)
I.

Empowering the Ensemble: Putting First What Often Comes Last

A. Jazz ensembles are not like concert bands
B. Dropping the hand means opening the gate to creativity
C. Students who feel like part of the process are more involved
D. Charts as a frame work for change
E. Allow the Masters to continue to teach (See Table 2)
1. Tap into their learning strengths
2. Dont let ego get in the way of learning
F. Learning with your students
1. Listening time
2. Web assignments
3. Rehearsal critiques

II.

The Physical Layout of the Ensemble

A. Performance set up (See Figure 1)
3-1-2-4
2-1-3-4
3-2-1-4
3-2-1-4-5 5-4-1-2-3 4-2-1-3-5
B. Alternate Rehearsal set ups (See Figure 2)
C. The Listening Lane (See Figure 1)

III.

Five Things You Always Hear From Judges.and What They Really Mean.
A. Really tune guys! (a.k.a.-define who and where to listen to)
1. Bass instruments rule the tuning realm
2. Instrument pairs (See Table 1)
3. Who is right?
B. We need to tighten up things with the (insert section) (a.k.a.-define cut offs)
1. Notes before rests
2. Short notes at the end of phrases
3. Accents within a phrase or a line
4. Defining the proper swing style
5. Tricks for the most common jazz rhythms.
C. Dig in guysdig in! (a.k.a.-more aggression)
1. Everything you need to play in a jazz band
2. Singing
3. Call and response
D. We need to do something with the line (a.k.a.-shape phrases and create interest)
1. Teaching backgrounds as a means of direction
2. Learning speech-like phrases
3. Know what is coming next in the chart

E. Rhythm section.uhwe need to work on our style. (a.k.a. learn the techniques of
creating a groove)
1. Comping patterns
2. The drum and bass alliance
3. Guitar and piano comping
IV.

Consensus Top 10 Jazz Band No Nos

10. Programming anything from the pop 100 for jazz band
9. Thinking you will catch every mistake in a rehearsal (see also rehearsal critiques)
8. Programming over the abilities of the ensemble
7. Failing to program to the strengths of your ensemble
6. Two words.Jet Tone
5. Two words.NO Choreography!!!
4. Letting competition out-weigh learning
3. Removing history from the bandstand
2. Not informing them of opportunities to learn
1. Letting ignorance or inexperience get in the way of learning

Figure 1. Listening Lanes (in traditional performance set up)

ss

Tp2

Tp1

Tp3

Tp4

B2

B1

B3

BB

T2

Drums

Ba

Pi

an
o

Gtr

T1

A2

A1

Figure 2: Alternate Rehearsal Set Ups The Square

A2

A1

T2

BS

B3

Tp3

BB

Tp4

T1

Tp1

B1

Tp2

Conductor

B2

Pi

o
an

Gtr
Ba

ss

Drums

Figure 2: Alternate Rehearsal Set Ups Kenton V

Drums

an
Pi

Bass

Guitar

Saxophones
T2

Brass

Conductor

Table 1: Common Instrument Groupings

Common Groupings
Trumpet 4 (solo), Alto I
Trumpet 4, Tenor 1
Trombone 1, Tenor 1 (sometime with tenor 2)
Bass Trombone, Baritone Saxophone, Bass (sometimes with tenor 2)
Tenor Sax 1 and 2 with Trombone 1 and 2
Trumpet, Soprano Saxophone, Tenor Saxophone (opt) (sometimes soprano substitutes for alto 1)

Saxophone Section with single brass voice lead (trumpet or trombone)

Table 2. 10 Big Band Albums You Must Have

Band

Album

Duke Ellington

Ellington Indigos-Columbia

Count Basie

Kansas City Suite-Roulette ?

Woody Herman

The 3 Herds-Columbia

Thad Jones/Mel Lewis

Consolation-Solid State

Mel Lewis Orchestra

20 Years at the Village Vanguard-Atlantic

Toshiko Akiyoshi-Lew
Tabackin Big Band

Road Time-RCA Japan

Rob McConnell

Rob McConnell and the BOSS -Sea Breeze

Kenny Wheeler

Music For Large Ensemble-ECM

Maria Schneider

Evanessence-Enja

Bob Brookmeyer

Get Well Soon-Artist Share