Stepping in Front of Your Jazz Ensemble for the First Time


Traditionally, university music education pro- grams have leſt a noticeable gap in preparing their students to effectively direct a high school jazz ensemble. Tere are many reasons for this, not least of which is that jazz itself has become a part of the academic world only recently. Regardless, many directors still find themselves uncertain of how to begin and what to do when they begin jazz ensemble rehearsals. Here are some practical insights for developing your jazz groups, and the surrounding culture in your school districts.


Building a Listening Culture First and perhaps most importantly, jazz must be listened to in all parts of the learning process. Jazz is somewhat unique in that its entire history has been preserved on record- ings - virtually every significant moment in the music’s history is preserved for your listening. Jazz musicians themselves are obsessed with listening to old records and discovering new ones. We routinely swap album titles and songs that have moved us, asking “who plays bass on that one record?” and “have you checked out so-and-so on this track?” Tis type of dedica- tion to listening is a natural part of your jazz program’s development and should be encour- aged. Listen to the music you are performing, have your band sing along, learn the solos, and find related recordings to check out. Help your kids understand that jazz is not some stuffy old music that only their grandparents can enjoy, but a vibrant and vital part of American history with a rich tradition of which they are now a part. If you want to build your school’s jazz program, get the students interested in listening to the music.


Musical Misconceptions When directing your band, there are a few mu- sical considerations that should be emphasized. First, be wary against playing too loud. Jazz is fundamentally music, so we should approach it


Seth M. Ebersole


with musicality in mind. In concert band and wind ensemble, we always strive for balance be- tween the different sections of the band, blend between the players within those sections, and intonation for each instrumentalist. Jazz band should be no different. For some reason, many inexperienced directors will mistake volume for energy in a jazz band. Tis is a mistake that will inhibit your group from creating any real music. Similarly, directors may instruct their players to “lay back” against the beat to make the music swing. Tis does not make the music swing, it makes the band drag! A better focus is for your players to feel the quarter note pulse that drives the music forward. As you all are expanding your ears and listening to more of the music, you will develop a better sense of what swing is. Listen again to the recordings of your tunes and feel how the life of the music is the 1-2-3-4 of the bass propelling the music forward. Build a musical discipline in your jazz ensemble. Tis will allow your students to expe- rience the joy and beauty of the music.


Repertoire Considerations It is worth noting that all the aforementioned advice is impossible to heed if the band is not performing appropriate repertoire. Many directors simply do not know how to select charts for their band that are accessible enough for their students’ ability while still being idiomatically suitable. Tis, due to no fault of the directors, creates a situation where the jazz band plays poorly arranged imitations of better tunes. Tink back to your concert band and wind ensemble. Tere is a standard of reper- toire for these groups: Holst, Grainger, Vaughan Williams. Tink of how ridiculous it would be to arrive at an honors band festival only to find that the group was playing an adaptation of Lincolnshire Posy instead of the real thing! Similarly, your band should and can play authentic jazz repertoire. Start with the founda- tion - Count Basie. Use the arrangements of Er-


20


Jazz


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32