‘Developing A Healtey Rhythm Sestion Jerry Tolson School of Music University of Loulavitle Louisville, KY 40292 (502) 852-6972 erry olson@louisvileeda Rhythm section playing ina jazz setting has 6 essential component 1. Facility and technique the individual instruments, 1, An understanding ofthe jazz language and nomenelstre. IL. An understanding of the integrated role ofeach rythm section player as related to each other and to the ensemble with which they are performing. IV. An understanding ofthe techniques and methods necessary to suecessfilly execute those roles. '. An understanding ofthe various jazz stvles and ahistorical basis for their se. ‘VL Opportunities for aplication 1, Facility and Teetnique {tis a given that a player must have fciityon ther given instrument. This may be echieved through Scale and etude study, private lessons, jam sessions tc. Achievement in his area should not be limited by fay equipment. ‘Us the best hat your money can buy. 1. Understanding the Jazz Languoge ‘The understanding ofthe jazz language for hythm sections begins withthe understanding that rhythm parts are very seldom complete as write. I is what is done beyond what is written onthe page that, determines quality secon. Pianists, gic, and basists must become familar withthe spstrn of ‘hord and notational symbols that jazz composers use, They mus eam how tobe creative in developing ‘oicings and lines for the notated chords. Perussionists mist beable o play a variety of styles, authentically. Allshythm players must leam the concepts of form and time keeping, Avalable sources include:‘Theory/Technique "Elements of Jazz" by Jey Coker (CPP/Belwin) "The Jazz Language” by Dan Haere (Studio PRIColumbia) "The Jazz Sound” by Dan Haerle (Hal Leorard) ‘The Jazz Theory Book "by Mark Levine (Sher Music) jow to Practice Jazz" by Jery Coker (Stuiio PR/Columbia) Patiems for Jazz" by Jerry Coker (Stadio PR/Columbia) uildng A Jazz Vocabulary" by Mike Steel (availble ftom Aebersold) “How To Leam Tunes" by David Baker (Vol. 76 Aebersold) Rhythm Section “Rhythm Section Workshop" by Berg, Fse3er, Hamilton, and Houghton (Alfie) “A Guide forthe Modern Rhythm Sesion” by Steve Houghton (Bernhouse) “Inside th Brazilian Rhythm Section” by aria and Korman (af. Aebersold) Piano "Sazz/Rock Voisings forthe Contemporary Keyboard Player by Dan Hsele (Studio PR/Columbia) "Voicings for Jazz Keyboard” by Frank Mantooth (Hel Leonard) ‘The Chord Voicing Handbook" by Mat Hats and Jeff Jarvis (Kendor) "The Jazz Piao Book" by Mark Levine (Ster Mosie) "Jazz Keyboard” by Jemy Coker (a.£ Aebersold) "Quarta Jazz Pano Voiings” by Paul Rinaer (af. Aebersold) "Alo-Cuban Keyboard Grooves” by Paine and Moreno (Alfred) "Salsa Guidebook for Piano and Ensemble" by Rebecca Mouleon (Sher) "101 Montunos' by Rebecea Mouleor-Santana (Sher) "Cookis With Salsa” by Xavier Soul (a. Aebersold) Bass "The Evolving Bassist" by Rufs Reid (Myriad Lea) "Bass Les in Minutes" by Krs Berg (Houston Publishing) “Building Walking Bass Lines" by Ed Frieand (Hal Leonard) “I Walk the Line" by Tom Anderson (a “The Bottom Line" by Todd Coolman (a. Aebersold) “Big Band Bass" by John Clayton, J. (af. Aebersold) ‘Funk/Fusion Bass” by Jon Liebman (4. Aebersold) "The Latin Bass Book’ by Stagnaro and Sher (Sher) Drums "Advanced Techniques for the Modern Drummer” by Jim Chapin ( "Standard Time” by Steve Davis (a. Aebersold) "Essential Techniques for Drum Set” by Ed Soph (a. Aebersold) ‘The Big Band Drummer” Ron Spagnardi(f. Aebersold ‘The Drum Set” (Video) by Ed Soph (af Aebersold) "Studio and Big Band Drumming” by Steve Houghion (af. Aebersold) ‘The Art of Bop Drumming" by John Riley (Aebersold) “The Sound of Brushes" by Ed Thigpen (a,f Aebersold) “Afro-Cuban Rhythms for Drumset" by Malabe and Weiner (af Aebersold) "Funk Grooves for Drums" by Femando Martinez (a. Aebersold) Aebersold) ‘olson Rhythm Sections~p. 2"Essential Styles forthe Drummer & Bassist” by Houghton and Warrington (Studio PR/Columbia) ‘Jazz, Rock, & Latin Sourcebook" by Charles Dowd (.f Aebersold) "Alo-Cuban Grooves fer Bass and Drums” by Goines and Ameen (af Aebersold) Goitar "The Jazz Guitarists Handbook” by Bruce Forman (af. Aebersold) “Jazz Band Rhythm Guitar” by Brice Forman (a. Aebersold) “Jazz Guitar Workshop" by Mann Crum (af, Aebersold) "Encyclopedia of Guitar Chords" by Wiliam Bay (af. Aebersold) "A Chordal Concept forJazz Guitar” by Peter OMara (a. Aebersold) "Voice Leading for Git” by John Thomas (af. Aebersold) “Jazz Rhythm Guitac” by Jack Grassel (af Asbersold) “Latin Guitar: The Essetial Brazilian and Afro-Cuban Rhythm Guide® by Buckingham (af Aebersold) Latin Percussion "Latin American Percussion” by Birger Suisbruck (af Aebersold) "Rhythms Talk" by Kesneth Nash (af. Aebersold) "The Essence of Afio-Caban Percussion & Drum Set" by Ed Usibe (Alfred) ‘The Essence of Brazilian Percussion and Drum Set” by Ed Uribe (Alfed) "Mastering the Art of Ao-Cuban Drumming (Video) by Ignacio Beroa (Aired) Vibes “Jazz Vibes: The Art and Language” by Jon Metzger (a:f Aebersold) DirectoriGeneral "Jazz Pedagogy: The Jauz Edveators Handbook and Resource Guide" by J. Richard Dunscomb and Willie L. Hill (Warner Bros) "The Jazz Ensemble Direcor's Manual” by Rick Lawn (Bamhouse) "The Jazz Ensemble Director's Handbook” by John Berry (Hal Leonard) "The Jaza Educator's Handbook" by Jeff Jarvis and Doug Beach (Kendor) "Figure Reading Series” by Jeny Coker (af. Aebersold) "Siphtreading Jaza" by Eob Taylor (af. Aebersold) ‘How to Listen o Jazz" ay Jory Coker (af. Aebersold) ‘How to Proctce Jazz" ty Jey Coker (af Aebersold) “improvising Jaz2" by Jerry Coker (a. Aebersold) Jamey Aebersold Play-Along Collection (126 Vols, & counting) Tolson Rhythm Sections ~p. 3UL, Each rhythm player has a role and function to perform inthe ensemble. Among the roles ofthe shythm instruments are: Drums 1, Timekeeping 2. Establishing style 3, Accentuting ensemble rhythms (hits, kicks fil, set-ups) ‘4. Contoling dynamics 5. Transitions end definitions of form 6. Providing the drive andor emotional excitement levels Bass 1. Harmonic foundation 2. Timekeeping 3 Establishing syle 4 Playing melodic lines 5. Providing connective material fr harmony and form Piano 1. Providing harmony 2; Harmonie color and nuance 3. Rhythmic accompaniment (comping) 44 Rhytimie punctuation 5 Playing melodic lines Guitar 1. Harmonie color and nuance 2. Rhytimie accompaniment 3. Playing melodic lines 4 Peressive accompaniment ‘Auxillary Percussion 1. Window dressing 2. Rhythmic enhancement 3. Authenticating style 44 Tonecolor variety 1. Considerations in achieving successful execution ofthese roles may include the following 2. Understanding of form 3. Fills 4 its kicks, shythmie Hgures Bass Reading chord changes Developing coherent lines SSmocth connections and approsches between chords ‘Variay Equipment settings 5 Ampifirsettngs 2 3B a 5. 6 olson Rhythm Sections p. 4Piano Reading chord changes Chord voicings and voice leading Comping pattems ‘When to play and when not to play Introduetion and resolution of tention 5 Lnerplatons Equipment (Le acoustic, elect, or syntbesizs) . Variety Guitar 1, Reading chord changes 2: Strumming patems 5, Voicines 4 Reading melodic tines 5 Equipment setups 3 4 5 6 1 & ‘Auxiliary Percuss 1. What instroment(s) to play 2. When to play them 3: Authentic patterns V, Historia! Bass Its very important that al rhythm section players have an understanding ofthe players who have defined the stylistic developments on thar invidua instruments, Listed below area few of those player. tis ‘sential that developing players make listening (and transcribing) «regular pt of tei development. Drum: Mal Lewis addy Rich Louis Belson hin Jones ‘Max Roach An Blakey Grady Tate Thigpen Jeck Defohnede Seve Houghton Dave Week! Ruben Blades Tolson Rhythm Sections -p. 5Base: Ray Brown Ron Carter Milt Hinton aul Chambes: (Oscar Petiford Jimmy Blanton Slam Siowart Charles Mingas Rufus Reid Stanley Clarke Taco Pestorioes Vietor Wooten John Patiracci Piano: an Tatum (Oscar Peterson Count Basie Wynton Kelly ink Jones Red Garland Dave Brubeck Horace Silver Bill Evans MeCoy Tynet Chick Cores Dave Grusin| Elis Marsalis James Willian Marcus Robens Danilo Perez Gonzalo Rubdeaba Ede Pater Gai Wes Montgonery Charlie Christan Joe Pass Sim Hall Herb Elis Kenny Bure John MeLaugain Pat Metheny John Schofield Lary Carton Mike Sern Tolson Riythm Sections—p. ¢‘Aualiary Percusion: Lionel Hampton «Vibes Milt Jackson = Vises David Semuel - Vibes Gary Burton - Vibes Dave Valentin - Vibes Chan Pozo Tio Puente ‘Airto Moriers ‘Mongo Santamaria Machito Willie Bobo Remon Lopez Oscar DiLeon Ignacio Beroa Big Bands: Count Basie Orchestra ke Ellington Orchestra Dizzy Gillespie United Nations Orchestra ‘Thad Jones Lewis Orchestra ‘Stan Kenton Orcest ‘Woody Herman Orchestra Bob Florence Orchestra “Maynard Ferguson Band Lincoln Center Jez Orchestra tis also important for ehythm players to listen toa variety of tyes of music i bth lege and small band seitings at a vaiey of tempi. Those styles include: ‘Swing 2 Beat 4 Beat (Sraight Abead) ‘Shute Bebop Latin (Affo-Cubun and Brazil Bossa Nova (B) Samba (5) Salsa(A-0) Mambo (A-C) (Cha Cha (A-C) Merengue (A-C) Songo (AC) Rumba (A-C) Fusion Fank Reggae (8 Metered V1. Rhythm sections should take as many opportunites to play together as possible. They should not consider the ensemble rehearsal time as their only opportunity to play. Their experience should also include sectionals on thee own, jam sessions, combo settings, and playing along with recordings and a metronome, They should practice playing not only the selesions forthe ensemble, bu jaz standards es well to expund ther repertoire and enhance ther learning. Tolson Rhythm Sections ~p. 7Rhythm Section: Tips for Success by Jerry Tolson School of Music University of Loulsville Lusterng the hay to # better rythm eection, That means tering to eachother and Hstering to frofeasona yan sections as models. Each member of the rhythm section shoud understand and Know the roles of each other member ofthe section. 1. Playing the bass in Jaze group requires dual function of rhythmic and harmonic foundation simuttaneousy. 2 tna convertonal rythm secton, the ality to play 2 waking baas Ine ts paramount. ‘ont ot tine spent accompanying others, bat Bass ine should stand on k's own harmoricaly and ‘melodiealy (vlce leading). 3. Start by playing simply. TIME 1S ALWAYS THE FIRST PRIORITY 4 Lock Inw/ drum, Bass line and ride cymbal must cxnci. 5. Rules of Thumb (swing) “a ace rot of chord on dowribeat ofeach chord change (Sth can occasional be substituted) 1. Precede root w/ hall step either side Filia with chord tones, appropriate scala tones, chromatle mation, digital pattems. 6. Each note shoud have precine, definite attack folowed by dark sustained sound. 5. Shape of the bass lne shoul se and fal na gradual manner, not angular. Register should be determined by existing condiens of moment to coincide or contrast w/ what is gong en. “The drurmars fuetion Is to Keep tine ANO establish tha “Groove (Le Syst fel) Ride eymbal and Hrhat‘are most important for sng. Basle ide rythm ia dependent upon tempo and style of tune, Fiat "pops on 2 & 4 with 2 "cle" sound ‘Stick placement fs important to a sustaled consistent sound on ride cymbal. ‘Boss Drum shoud be used for accents and delineating form. Share pattem shoud ether be repetitvs sit or compliment to what is happening at moment, Drumm should "pay the form? changing the pattem to colnlde w/ formal sections, Keka, hits, ard fll are tinct from set ups. {o. Kicks and ita that are quarter note or shorter should be enhanced by snare only, longer than quarter w/ bass drum and crash cymbal together. M,Piano 1 z x “ x 6 epx 1. Planet's role Isto provide harmonic Identity and color with rythmle punetustlon. 2, Sustan pedal should onty be used for bafads and special occasions. ‘Use wlcings which coincide with player's level (3-6 notes) and style and texture of tune. (Never double L&R voicngs). (fr 3rd & 7th are crucl notes for harmoee identity. 6th and Sth are best for harmon coor. Root ‘and Sth are least importan for panst unless Sth le aRered. 5. Less is more rhythicaly, Le. dot overplayl every chord and every beat do not have to be Played. Raa of trl eos snl fal ate aC (bow Mie) an C3 (nd er of treble sa). 7. Move the fewest fingers posse from chord to chord, 1 Chords whlch lst for extended ime can be enhanced by paring and/or voicing change, introduce and resolve tension for forward movement. 10. Chord subettation and interpolation can anbance harmon Interest.w. outer Role is siilar to pianist, but may ao include single ne functions. ‘Volcings should be inthe mid range of instrument, not extremes unless speciially called for, \Volings shoul be concstrated on too four strings. {less ft mote in thickness of texture. (3-4 note volcings are mere than adequate) Sound shoud be warm, clear with no effects. ‘Gatarot and plant should NEVER cemp at same time. (ne should crop out or fil alternate rl). Introduce and reealve tension for foward movement. '8, Chord substiution and Interpolation can enhance harmenic interest. v. Auulllary Percussion ‘Should only be used on approprite style charts, Don't use ust to occupy extra players. Short repetitive patems (2 measures or less) should be used. Instrenent choices should correspond to style of tune. {ss s more. Use ft Tike spice In a gourmet recipe. Binthan Sartian Tine «2“1. Rhythm Section Setup Audience QF 6s 2. Rhythm Section / Band Setup Audience ® LS = @ To r Og ooo0o0= oc 3. Sample Speaker Monitor Setup Audience A G a @ food To ole Pare Qo osDrums The cide cymbal bat the mot inprtateement of goed swig Fe Thr are sven! wy ‘cymbal beat can be notated: " fe a ot, ho In cates where the tempo becomes too fast to think and play wiles, the drummer must change his thiking to con capt of eighth acts. Asa rent the ede cymbal pattern must be changed. Changing the ride cymbal from triplets to ‘ight is called “flattening” out the ede. In other word, jst as tiplets made it flow at 2 slow or medium temps, ‘ighths wal make it flow at an “up” temps. ~ SSS rot 8 cher ang 7 rere 7 ft et ‘at Fog 3b (Triad with tecing tone) . ® ee ft ft (See oom acing oy . rt BIDiagram #1 Diag a3 car cr Cuz co cm) Caz Crass Diag am 4 Disgram# Diag am#6 Diag am #7tansrree fetrmuenFsy D> & e& o gE ob a) e Ap rt e oe 8 ¢€ € Jf dD G@ 8 é E & 4 Ay " oe 8 6 <¢ bh tT pe 8 ’ 4 — ne a un + (ers) 1 sano ~ TYWORIBINN WIsection and melodic accents should usually be played, they are not essential. Sometimes these figures are ‘wetten as smaller cued notes. They can also function as a guide. Another realty to consider is that drums pars are sometimes overwritten and therefore can be confusing to an inexperienced drummer. Example | shows a simple and well-writen drum part. Tis gives the drummer basic information. ‘Example | reac: oer ner us xn «>