Seeking Advice - Big Band Jazz Piano for Beginner

[Jazz+]

I'm tutoring a high school kid that's playing in his school jazz ensemble for the frst time. I would like to get your suggestions on what is important to know for a beginner, especially with regards to comping and a system for chord voicings. My idea is to show him the left hand four note rootless voicings (Bill Evans type) and then add the right hand above playing one note, two notes or an octave.

 

From Wikipedia

http://en.wikipedia.org/wiki/Big_band#Piano.2FKeyboards

 

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, 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 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.[4] 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. Sometimes distortion pedals are used to create various effects.

 

Form

 

Typical big band arrangements of 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.

 

 

[Bridog6996]

I'd have him stick to the charts as much as possibly, at least initially. High school jazz band charts always have the piano arrangement written out. I would stick to the arrangement and edit when neccessary. Introduce techniques and theory stuff along the way and see how fast he picks it up. In the process, use his charts to show how these concepts are being utilized in context.

[Jazz+]

I remember that half of my college big band charts had the chords written out and half did not. If my students high school charts are all written out than the swing phrasing and any solo sections will be the challenge.

[Moon Zero Two]

When I was in a big band - and pretty inexperienced - the conductor asked me to play: 359/18 or 739/18 when comping - you can move the right hand around - this was when there wasn't written out voicings....

[Jazz+]

I think you mean 379/18 or 735/18 when comping

[raddtunes]

If your student is playing on an acoustic piano, you might want to make sure he doesn't develop the habit of playing too hard. (pushing too hard into the keys). It's very easy to slip into this - without even noticing - if he feels he needs to compete for volume with a big band.

 

You might also mix in some listening time into your lessons. There are lots of great albums, but I'd start with Count Basie.

 

 

[Bobadohshe]

I'd have him stick to the charts as much as possibly, at least initially. High school jazz band charts always have the piano arrangement written out. I would stick to the arrangement and edit when neccessary. Introduce techniques and theory stuff along the way and see how fast he picks it up. In the process, use his charts to show how these concepts are being utilized in context.

 

VERY Well said. As is the 379/18 or 735/18 when comping

idea. Think of stabs in the spaces. Also Bell like Octaves in the right hand (1/8) on occasion a la basie. Bridog really nailed it with the suggestions actually.

[Jazz+]

I think I'll have him learn the four note rootless left hand voicings because they take about the same amount of effort aslearning the three note left hand rootless voicings.

 

Playing 18 always in the righthand will require some jumpy voice leading. So instead, for example over | D-7 G7 |Cmaj7 | I'll have him play a common tone in the right hand, either G over all three chords or D over all three. Once he gets that he can play the D or G in right hand octaves.

[Bobadohshe]

That would be the main time I'd use the right hand octave. Holding a G over D-7 G7 Cmaj7. The other time might be over some blues changes, which also occur often in a big band context. Keeping an F on top of an F blues as it goes to the 4 chord for example. And yet another time might be over Killer Joe(a popular big band chart for sure)/Seven Steps to Heaven esque changes where it's a dominant chord, then the same down a whole step. (C and Bb in Killer Joe).You'd keep an octave of the root on top and it'd become the 9th of the next chord.

But you can't go wrong with the rootless voicings. I think that's an excellent place to start.

A good book is the piano book for Hal Leonard's Essential Elements for Jazz Ensemble. EE for Jazz Ensemble is a great series for teaching middle/high school age kids the basics of improv and jazz playing. This is a series for band instruments, but the piano accompaniment book has a lot of excellent material in it as well.

CLICK HERE to see the book.

[Jazz+]

Thanks

 

Anymore tips, anybody?

[JezD]

I'm a tutor at the county youth jazz orchestra where i live, and i totally agree with Bridog. Most of the charts have written out voicings or parts (with the chords usually indicated too) throughout the piece. Still it's definitely a good idea to teach the Bill Evans rootless LHVs and the basics of how chords are formed, so he can then understand about alterations and inversions better. Might also be useful to find a chord book with lots of written out voicings ranging from the very basic to more advanced. There is one i can't quite remember the name of - will let you know if i do!

[marczellm]

This article is highly educational, I recommend it to anyone seeking advice on big band piano:

 

http://www.kurtellenberger.com/Chart_to_Reality.pdf

[jjo]

I'd suggest going over the solo Basie style intros and endings the student will have to play. Frankly, those solos are the most exposed and important parts a piano player has to handle. I (amateur piano player that plays in a big band) recently went over the intro to Corner Pocket with my teacher of many years. It got much better (we even, after listening to many versions, corrected a mistake in the chart) and I nailed it at a gig. I got lots of good comments from the band members for just playing those few measures dead on.

[Rusty Mike]

Love playing the intro to Corner Pocket!

[RudyS]

This thread has a lot of good advice. It really helped me when I was starting in a big band!

 

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