BBC Big Band Orchestra - The Age Of Swing

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Que es una Big Band?

Big Band

A big band is a type of musical ensemble associated with playing jazz music and which became popular during the Swing Era from 1935 until the late 1940s.

A big band typically consists of approximately 12 to 19 musicians and contains saxophones, trumpets, trombones, and a rhythm section.

The terms jazz band, stage band, jazz orchestra, and dance band are also used to refer to this type of ensemble.

In contrast to smaller jazz combos, in which most of the music is improvised, or created spontaneously, music played by big bands is highly 'arranged', or prepared in advance and notated on sheet music. Improvised solos may be played only when called for by the arranger.

History and style

There are two distinct periods in the history of popular bands.

Big bands, then typically consisting of 10-13 pieces, came to dominate popular music in the middle 1920s. At that time they usually played a sweet form of jazz, including one or more violins, which were mostly dropped after the mid-1930s. Typical of the genre were such popular artists as Paul Whiteman and Ted Lewis. Many of these artists changed styles or retired after the introduction of swing music.

Swing music began appearing in the early 1930s, and this type of music flourished through the early 1950s, although there was little mass audience for it until around 1936.

After that time, Big Bands rose to prominence playing swing music and held a major role in defining swing as a distinctive style.

Later bandleaders pioneered the performance of various Brazilian and Afro-Cuban styles with the traditional big band instrumentation, and big bands led by arranger Gil Evans and virtuoso bassist Jaco Pastorius introduced cool jazz and jazz fusion, respectively, to the big band domain. Modern big bands can be found playing all styles of jazz music.

Instrumentation

While composers and arrangers have written for many combinations of instruments, conventional big bands since the 1930s have had a rhythm section (composed of drums, bass, piano, and possibly guitar), a trumpet section, a trombone section, and a saxophone section, the latter three collectively referred to as "horns."

In the second half of the twentieth century, a standard 17-piece instrumentation evolved, for which many commercial arrangements are available. This instrumentation consists of five saxophones, four trumpets, four trombones and a four-piece rhythm section.

Saxophone section

The saxophone section (known as the reeds, the sax section, or just the saxes in jazz parlance) usually comprises five players: two altos, two tenors and one baritone.

The 'leader' of the section, who sets overall style, volume, tuning and phrasing, is always the first alto player.
If the arrangement requires it, the players double on other wind instruments, such as flute, clarinet, and soprano saxophone.

The saxophone section represents the 'backbone' of the wind instruments in that it frequently carries the tune or provides backing harmonies underneath a soloist or section solis. Saxes, when playing along with brass in an ensemble are said to 'soften' the sound of the brass but give it support.

Because of the shape and the fact that the sound emanates from the open keys as well as the bell, a saxophone cannot be muted for effects or volume reduction. It can only be played louder or more softly. Effects in the sax section are provided by using the alternative instruments such as flutes, clarinets, sopranos etc.

Brass section

The brass section is a collective term for the trombone and trumpet sections. Quite often these sections play the same phrases and rhythms, for a powerful, brassy sound. These instruments can also make use of sound-changing mutes, which are widely used in jazz.

Trumpet section

The trumpet section usually comprises four (sometimes five) players, each playing a separate part. The section leader is usually the first (or lead) trumpet, who plays the highest and most strenuous part.

When the whole band is playing tutti (in unison, or all the same), the lead trumpet player is still considered the lead player of the band and is followed in phrasing, articulation, etc., by the rest of the band.

The second trumpet player is usually the jazz soloist. The other players are generally assigned progressively lower pitch parts.

In the Stan Kenton Orchestra, high-note expert Maynard Ferguson played the third (out of five) trumpet part. That part was known thereafter as the "scream chair" and Kenton always made sure his high-note man was assigned to it.

Trombone section

This is similar in formation to the trumpet section, except that there are three tenor trombones and one bass trombone. The trombone section provides a deeper sound than that of the trumpets.

The Stan Kenton orchestra from the late 1950's on used two bass trombones, with one player doubling on tuba.

Unusually, a French horn can be grouped into the trombone section in place of a tenor or bass trombone.

Rhythm section

The rhythm section comprises drums, double bass (or bass guitar) and guitar.

Although not intended to be heard above the wind instruments, the rhythm section is essential both to the band and to the audience in providing the important pulse in the music that is so important for dancing and listening to.

The rhythm section is sometimes referred to as the 'powerhouse' or engine room of the band as one of its main purposes is to drive the band forward at a steady rate. The rhythm section is sometimes said to provide a large part of the 'swing' to a band.

A rhythm section not playing together will not swing and will sound stiff and awkward. When playing together properly, the rhythm section achieves what is known in electronics terms as 'phase-lock' and are totally together in tempo and phase. Under these conditions, the rhythm section is said to be 'swinging'.

Piano

The role of the pianist in a big band depends on his/her style and the needs of the band. The pianist can punctuate various accents, provide responses in a call-and-response, play countermelodies, provide fills in the music, etc.

Historically, each big band pianist/bandleader had a trademark style.

In some groups, such as that of Count Basie, the part played by the piano was minimal, in that the comping only contributed a light specification of the voicings of the chords. In contrast, other bandleaders such as Duke Ellington gave the piano a more prominent role.

Modern groups generally play a wide variety of styles and arrangements, with varying usage of the piano.

Guitar

The guitar in a big band is mostly used as a pure rhythm instrument in that it plays straight time. That is, in a swing tune, the guitarist will often play four beats in every bar. Other styles (ballad, Latin) may be approached differently. The guitarist sometimes takes solos, but usually not as many as the piano.

The guitarist most responsible for creating the role of the traditional big band guitarist was Freddie Green of the Count Basie orchestra, who played an unamplified acoustic guitar. Electric guitarists with contemporary big bands, such as Ben Monder with the Maria Schneider Jazz Orchestra, are exploring new roles and sounds for the big band guitar.

Bass

The bassist, who plays either a double bass, bass guitar, or rarely electric upright bass is often considered the most important member of the rhythm section because the instrument not only provides a beat, but gives an indication to the harmony.

It can be heard and sometimes felt by all the band below all the other instrumentalists. The bass player usually plays four beats in every bar of a 4/4 tune and is usually playing continuously without rests throughout the tune.

To achieve a good swing feeling the bass player will try to play extreme legato making all the notes run into one another giving a continuous but pulsating sound.

Staccato bass playing is usually avoided except in non swing tunes or unless specifically written on the part.

Drums

The drummer is also an important member of the rhythm section, who together with the bass, piano and optional guitar form the core of a solid timekeeping unit.

The drummer plays fills that accent the horn figures, and provides the basis of the swing feel with a steady broken-triplet figure on the ride cymbal.

The drum kit usually comprises bass drum, tom-tom(s), snare drum, a heavy ride cymbal, hi-hat or 'sock' cymbals, crash cymbal(s) and sometimes other specialty cymbals (splash, China boy, pang).

Swing drummers such as Jo Jones, Gene Krupa, or Buddy Rich provided a solid timekeeping foundation to the band while accenting the horn figures and adding energy behind soloists.

Modern big band drummers such as Mel Lewis, John Riley, or Clarence Penn, have expanded the role of the big band drummer in various ways.

Big band arrangements

Typical big band arrangementsof the swing period are written in strophic form with the same phrase and chord structure repeated several times.

Each iteration, or chorus, most commonly follows Twelve bar blues form or Thirty-two-bar (AABA) song form.

The first chorus of an arrangement typically introduces the melody, and is followed by subsequent choruses of development. This development may take the form of improvised solos, written soli sections, and shout choruses.

An arrangement's first chorus is sometimes preceded by an introduction, which may be as short as a few measures or may extend to chorus of its own. Many arrangements contain an interlude, often similar in content to the introduction, inserted between some or all choruses. Other methods of embellishing the form include modulations and cadential extensions.

Orchestration

Musical arrangements for big bands often make use of several common compositional techniques.

Trumpet parts can be arranged in close harmony (called a thickened line) to give a broader impression of the melody.

On other occasions, trumpets play in unison, giving a powerful, penetrating sound that cannot be achieved by a single trumpet. Groups of two or three trumpets are sometimes used in simple harmony.

The baritone saxophone may be written to play the lead alto part an octave lower to reinforce the melody and provide an effective '5 part' harmony in close harmony saxophone soli.

The baritone saxophone is sometimes written with the trombones, (especially in bands without a bass trombone) to give extra richness at the bottom of the trombone section. On occasions, the baritone sax can double with the bass player and bass trombone to create very heavy bass lines or riffs.

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Como ejemplos muy claros de todo lo dicho lo podemos tener los dos conciertos dados por Benny Goodman (años 1938 y 1939) en el Carnegie Hall de New York.

En ellos se muestra, en forma clara, lo mencionado anteriormente.

Ya volveremos, en otra oportunidad a hablar sobre dichos conciertos.

Aquí, colocaremos 4 Cd´s de la BBC Big Band Orchestra como

ejemplo muy palpable de lo que fué la Era del Swing interpretadas a la menera de

la grandes orquestas de jazz.

RBerdi

Links


RBerdi_BBC_Big_Band_Orchestra-Volume01.rar.html

RBerdi_BBC_Big_Band_Orchestra-Volume02.rar.html

RBerdi_BBC_Big_Band_Orchestra-Volume03.rar.html

RBerdi_BBC_Big_Band_Orchestra-Volume04.rar.html

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