Okay, so you don't dance. Don't get caught in a Dalcroze class .
Here's another idea that might work for you.
Play along with a recording. No written music necessary--just go with it. Dixieland is a good place to start; the keys and modulations and rhythms tend to be easier than more progressive forms of jazz.
You'll have to listen hard and depend on your ear a lot, but it can be learned.
From my experience, this usually in done in the opposite direction to that stated above. I have been going through "training" now for a very long time.
Locky wrote:Any constructive suggestions please to develop a better understanding and ability to play these forms of music. Issue is principally one of small ensemble work where the bass tuba takes a prominent and vital role in cross and jazz rhythms.
Please explain a bit more what you're talking about playing, too. Transcriptions for brass quint/sext/whatever-tet? As the bass of a swing-type trio/quartet/whatever-tet? Reading note for note, reading from leadsheets, nothing written??
There's mood music and food music. Mood music makes us glad to be playing it and food music gets us paid for playing it.
If you must sing for your supper, you better sing real pretty.
Swelling attacks, notes that taper off, an even volume on all the notes, and instant vibrato are all indications that a person is not familiar with jazz. Play square notes that don't swell or taper off individually, delay the vibrato until halfway through a long note (or skip it sometimes for an anticlimactic effect) and play higher notes louder than lower notes. Basically, play the way a talented but untrained singer would sing the part and you'll sound more jazzy.
Eupher 61 identified the fact that I had not explained the ensemble background adequately. The particular incident that prompted the post arose from a septette performance – 3 trumpets 3 trombones and bass tuba. A complicated arrangement – all notation written. To work effectively requires the bass line to be in the right place at the right time. No percussion. It is this grouping [and quintet of 2 trumpets, horn trombone and bass tuba] that causes me the grief. The military band has a get out of jail card = a talented string bass which allows me to sit back.
I am not a regular poster to the site although I watch it regularly. I have been heartened by the positive and helpful replies – thank you. So much so that I borrowed from the library yesterday a couple of CDs – Canadian Brass [High Society] and The Only Jazz Album you’ll Ever Need [RCA Victor]
Greetings to all from fosty and froggy Nottinghamshire – we don’t, as far as I am aware, have Tuba Christmas’s on this side of the pond and from what I read in a current post I am rather pleased that this is so! Bah humbug
Locky wrote:we don’t, as far as I am aware, have Tuba Christmas’s on this side of the pond
No, I have not heard of any over here either. I understand that once there was an attempt to hold one in Trafalgar Square, London - but only 4 tubas turned up (it would have been 5 if I had known of it)!
You certainly have my sympathies with the jazz rhythm - it does not come naturally to us more used to orchestral and band playing.
seems to me that someone who could come up with the line "an aversion to Gershwin" would be a jazz natural. you've got swing in wordplay, just let it out the horn.
Steve Inman wrote:Agree. (I also don't like Gershwin pieces, fwiw.)
I think there's too much of Gershwin to say "I don't like his pieces." What do you think of his string quartets, in particular "Lullaby"? It's not jazzy at all--and very haunting.
It's sort of like saying "I don't like Ives" without knowing that he composed some very tame German lieder for example.
heh heh ... I sit corrected. Thanks Chuck.
"Regarding the Gershwin piece with which I am familiar, I can state that they are not among my fondest pieces to listen to or to perform."
Cheers,
Steve Inman
Yamaha YEB-381 Eb
Conn 56J CC
Willson-Marzan CC Solo Model
Kokomo Chamber Brass
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