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Need help working with young pianists and their jazz ensemble music? Never played in one but yet expected to help students auditioning for school jazz band, all-district or state jazz band? Here is some advice that might help. If you have not had an opportunity, be sure to read the article jazz part 2.
Jazz Combo/Big Band Music
Ensemble music usually looks different from solo piano. It may be a lead sheet, include slash marks across beats, specify rhythms underneath chord symbols or include piano voicing. Usually it’s a combination of all of these.
Chord Symbols and Chord Voicing
Chord Symbols
So many variations in nomenclature exist, even more than those listed in this article, that confusion is inevitable with chord symbols. Variations in notation tend to occur between individual approaches more than from music of major publishing companies.
Variations in Expressing Chord Qualities
Major = M, MA, Ma, Maj. or the letter of the chord only
Minor = MI, Mi, mi, MIN, Min, min
Dominant = superscript 7, 9, #11 or 13 next to a chord letter without indication of major or minor before the superscript. Alt.7 is another variation referring to altered dominants that may have raised/lowered 5ths and/or 9ths.
Half-Diminished = most often expressed as minor 7 (b5), ø
Diminished = Dim, o
Augmented = Aug, +
Chord Voicing Exercises
Often published music provides chord voicing. In a solo section it is possible that voicings will be replaced by chord symbols. Students should memorize those voicings used earlier and play them here if having no prior experience creating their own. Have students compare similarities/differences in voicing of the same chord quality as they occur. Sooner they commit them to memory, the better they can focus on listening to what is going on around them in a combo, rhythm section or the entire big band as a whole. Try these exercises for expanding their options.
* Alter any one voicing to fit other chord qualities
* Transpose any chord in all 12 keys
* Play all inversions
Issues in Comping?
As students accompany, or comp, do they play half and/or whole note rhythms reflecting the harmonic rhythm of the chords indicated by the slash marks? Only when specific rhythmic values are indicated usually in some kind of slanted note head (see Riff examples below). When they see the slash marks in the music (see first example above), they should be improvising their own rhythms. If they are, do they lose their place in the form? This should become obvious when they anticipate or are delayed in acknowledging the next chord symbol by a several beats.
Comping with Confidence
The Riffs Return
To guide the student who gets lost in the form, I write out one or two-bar rhythmic riffs for them to play in each bar. Have them repeat and or randomly switch between riffs. I tell them there is no need to play in every bar. Letting a bar or two go by once in a while gives space for the soloist. Slowly I add more riffs before asking them to create their own. The goal is to play instinctively, possibly drawing on rhythmic inspiration from soloist, rhythm section (guitar, bass, drum set, auxiliary percussion), or background figures played by the band to support overall groove.
1 Bar Riffs
2 Bar Riff
Comping with a Guitarist
In the solo sections it is usually best to decide who will comp behind each soloist. Arrangements may have specific parts for the piano and guitar to create an intended groove in which both should play. If not, and both comp, it is best for one to comp sparse repetitive rhythms so the other can anticipate their intentions.
Improving Comping and Improvisational Skills
Students can practice comping and improvisation with real jazz musicians with Jamey Aebersold play-a-long recordings and with midi tracks with the app IReal Pro. Both allow for removal of the piano channel so students can play along with the bass and drums.
More Resources
Still intimidated by the subject of jazz? Listen to recordings, attend live performances or take some lessons from a jazz pianist near you. Also, consider becoming familiar with jazz publications from Jazzbooks.com and the website devoted to improvisation at Jazzadvice.com.