NOTES

Conductor vs. Director

• Jazz ensembles are not immune to mixed meter, tempo changes, etc. but that is not as prevalent

• Size of ensemble dictates if it needs a conductor (wind ensemble needs the baton, jazz ensemble can listen easier)

• Improvisational aspect of jazz does not need a "personality" given from the podium

• Because of rhythm section and drummer, you don't need a conductor to give preps, etc.

The "Conductor" = Drummers:

• Drum chart is essentially pointless

  • Only a guide, easy to get lost

• Get the drummer out of their music; it's more important to learn the time (& groove/style) than playing the ink

  • Take away their music for a bit, turn the stand around, encourage memorization of the full chart

• The drummer is the "conductor" from their chair; their job is to play the time and steer the band

  • Cues, set ups, dynamics

  • Bass player is also essential

    • Encourage friendship / comradery within the rhythm section

The "Director" = YOU:

• Primarily for guidance in rehearsals

• In performances, let the students go for it. Conducting can prohibit them from listening to each other

• YOU are crucial in starting off the tune (snapping, clapping, etc.)

  • Set tempo, set dynamic, set feel/style

    • There's no podium to step onto; the snap = the attention-getter

  • Check in with "snap" to remind of tempo and style throughout the chart; snaps aren't necessary during the whole chart, but you should use them as a reinforcement

  • Style of music dictates style of "snap"

  • Encourage players to tap the beat in their feet

In Rehearsal:

• Consistent time / tempo

  • Don't always rely on Dr. Beat playing in the background, encourage the ensemble to lock in and keep time consistent on their own

• Time feel - MOST IMPORTANT

  • Set up the ensemble as tight as you can so everyone can hear themselves as best they can

  • Subdivision exercises

    • "feel" the time in their feet

      • Heel is better than toe because it's more aligned with the spine and felt through the whole body

    • "doodl-a" (swing, shuffle), "watermelon" (rock, straight-8th)

• Articulation/balance/dynamics/etc.

  • These can't happen if the time feel and tempo aren't there

  • Clark Terry Articulation System (doo, dit, dah, daht, etc.)

    • Fairly universal

    • If articulations are together, the sound carries better and the players don't have to work as hard for dynamics

      • Come up with visualizations or audio examples for what articulations sound like so that students can better figure out how to produce those sounds on their instruments

      • Don't forget about the back end of the note; articulation deals with the full note, not just the front end

    • Use "cheat sheets" that students can check in with common rhythms and articulations

  • Encourage energy, vocal qualities, movement -- this is dance and entertainment music

Dave's checklist for what to listen for in rehearsal ™

• Time feel

  • This often comes from the rhythm section

  • Is the ensemble locking into the time?

    • Are people's feet moving? Are they visibly engaging with the time physically?

      • Tactile things --> flatten a tin foil ball

      • Competition --> section with the most engagement get ______

        • Young bands = habit stacking (feet tapping, articulations, etc.)

• Balance

  • Big to small

    • Rhythm to winds

      • Rhythm itself | winds itself

        • Section to section

          • Within section

• Timbre

  • Are the colors appropriate for the style and balance?

• Articulation

  • Are they matching? Are they varied appropriately for the music?

• Dynamics

  • Is there contrast? Are they following the ink? Do they follow the shape of the line?

    • "Micro-dynamics" = how to shape every single line that you play

    • Encourage listening to the lead players, even as they are all developing together

RESOURCES

Jazz Band Rehearsal Techniques (PDF)

Jazz Rehearsal Techniques and Strategies (PDF)