Jazz Big Band Conducting Class

這個暑假, 選修了一堂"Jazz Big Band Conducting"的課~ 這是由北德大最有名的One O'Clock Lab Band的指揮Steve Wiest所教授的一門課, Steve Wiest在去年帶領One O'Clock所錄製的2009 Lab Band專輯得到了兩項葛來美獎的提名--- Best Large Jazz Ensemble Album以及Best Instrumental Composition(Wiest教授自己的作品), 使得UNT提高不少知名度, 而One O'Clock Lab Band也是Grammy史上極少數能以大學樂團的身分被提名, 與全美各地其它職業的big band來共享這份殊榮~

在擁有9個Big Band的北德大裡, Wiest教授所領軍最好的"一點鐘爵士樂團", 是所有學生樂手們都想要考進去的樂團....因此,能跟這樣的教授上課, 自然有點緊張, 畢竟威廉我對於Big Band指揮方面是一點經驗也沒有的.....在選課之前還很擔心會不會跟不上其他JAZZ主修的碩士生們....

不過, 沒想到, Wiest教授非常的風趣幽默, 每一堂課都深入淺出的概括了整個美國Jazz Big Band的歷史, 聲音, 發展概念與實用的層面, 不但常常用一些生動的實例, 例如某某大師曾經說過的話或是某張重要專輯誕生的背後故事...更是活用許多的音樂, 從傳統的Ellintgon跟 Basie, 隨後的Thad Jones, Buddy Rich, Maynard Ferguson, 再到現代的Bob Brookmeyer, Bob Mintzer以及Maria Schnider, 讓大家真是見識到Big Band的不同聲響與發展~

Wiest也給大家許多很棒的建議與腦力激盪, 關於畢業後的發展, 如何去應徵學校的樂團director, 如何舉辦學校的Jazz festival, 如何組織一個好的big band, 如何去募款或是錄製專輯等等, 都是非常實用的經驗之談~

此外, 這堂課當然也有最重要的實戰部份, 也就是指揮與樂團採排的部份, 由於暑假UNT也有Summer Lab Band, 因此我們每天下課後, 下午都要參加旁聽樂團的彩排, 學習如何來rehearsal with big band~

而最令人感到緊張的, 莫過於實際上場指揮的時候了, 每個人都要指揮三首曲子, 不同的風格(Style), 速度(Tempo), 拍號(time) 或是mix-meter(混合拍號).....每首曲子都要聽的非常熟悉, 而且要將整份總譜都研究清楚, 不能漏掉任何的細節, 有些時候樂曲甚至沒有總譜, 那就得使用Lead Alto Saxophone的譜配合ㄧ其他所有樂團的分譜(parts) 來做分析~

而即使樂曲已經熟悉, 也將和聲與曲式做了一些研究分析之後, 在面對樂團的彩排時, 還是會有許多的狀況產生 (或是"慘"生)....像是要如何讓Big Band中的每一位樂手都了解到自己的部份, 如何勾勒出整首曲子的Road Map, 如何調整Rhythm Section的聲音, 或是如何安排Solo與樂團Back ground之間的互動.....每次的彩排都有30分鐘的時間, 而有的樂曲非常地困難, 無論是對樂手或是對指揮來說都是一種挑戰~

到了期末的時候, Wiest教授要求我們從一長串Big Band指揮或是director必須讀過的書單中挑三本書來寫reviews,而且還要每個人單獨上台presentation, 題目自訂, 範圍就是自己的樂器跟Big Band的關係~

因此, 威廉就想到用這個部落格來放一些想要講的內容, 上課時就直接開網頁讓大家看, 再配合presentation就行囉~ (這其實也是跟Wiest教授學的, 他會放許多音樂, 影片以及文字圖片到One O'Clock的網頁上, 然後每天更新明天要講的上課內容~)

總之, 這堂課真的是收穫良多, 尤其是讓威廉開始喜歡上Big Band的聲音, 也對於吹奏big band 音樂有新的想法與看法, 有機會再與大家一同分享更多的資訊與有趣的big band music囉~ 

Big Band Tenor Saxophonist

 

(VJO-The Vanguard Jazz Orchestra/ Saxophone Section)
Tradition

Gene Ammons (Woody Herman)
Don Byas (Count Basie, Lionel Hampton)
Al Cohn (Woody Herman)
Eddie Davis (Kenny Clarke-Francy Boland)
Frank Foster (Count Basie)
Jimmy Forrest (Count Basie)
Stan Getz (Woody Herman, Stan Kenton)
Paul Gonsalves (Duke Ellington)
Dexter Gordon (Lionel Hampton, Billy Eckstine)
Johnny Griffin (Kenny Clarke-Francy Boland)
Coleman Hawkins (Fletcher Henderson)
Illinois Jacquet (Lionel Hampton, Count Basie)
Zoot Sims (Woody Herman, Stan Kenton)
Al Sears (Duke Ellington)
Ben Webster (Duke Ellington)
Frank Wess (Count Basie)
Lester Young (Count Basie)


Mordern

Wayne Escoffery (Mingus Big Band)
Craig Handy (Mingus Big Band)
Ralph Lalama (Vanguard Jazz Orchestra)
Rick Margitza (Maria Schneider Jazz Orchestra)
Bob Mintzer (Bob Mintzer Big Band, GRP)
Ted Nash (Jazz at Lincoln Center Orchestra)
Rich Perry (Vanguard Jazz Orchestra)
Chris Potter (Dave Holland Big Band)
Ernie Watts (Buddy Rich, GRP)

Two Most Important Tenor Saxophonist In the Early Jazz Era

Coleman Randolph Hawkins (November 21, 1904-May 19, 1969)

Lester Willis Young (August 27, 1909 – March 15, 1959)

In 1943, Young returned to the Basie.  Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone.  While he certainly never abandoned the wooden reed, he did utilize the plastic reed a significant share of the time from 1943 until the end of his life.

 5. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart

Recording Comparison: 1. Lester Young / Taxi War Dance (1939)

2. Lester Young / I Want To Be Happy (1946)

 

The Saxophone Set Up And Mouthpiece Materials

Saxophone Set Up 

Example: 1

 

Example: 2

The Saxophone Mouthpiece Glossary

Baffle

The portion of the mouthpiece directly behind the tip rail. The shape of the baffle determines the brightness or darkness of the mouthpiece, as well as its "buzz".

Body

The Middle portion of the mouthpiece that the ligature fits over; the widest & largest part of the mouthpiece.

Beak

The front-outer portion of the mouthpiece that one's mouth fits over while playing. It extends from the tip of the mouthpiece to the Body of the mouthpiece.

Bore

The rear-inner portion of the mouthpiece that fits on the neck of the saxophone. It usually extends a bit further into the mouthpiece than the neck does.

Break Point

The point from which the reed first separates from the flat surface of the table. The start of the facing curve.

Chamber

The open area in the middle of the mouthpiece between the floor and the bore. A large chamber produces a fat & spread sound, while a small chamber produces a more focused sound. 

Large Chamber (a > b)

Large chamber mouthpieces play relatively soft with a large spread, and offer ease of control over the low register of the instrument. Large chamber mouthpieces are most popular among jazz players.

 Medium Chamber (a = b)

The clear and centered sound of a medium chamber mouthpiece is popular among classical saxophone players.

Small Chamber (a < b)

The airstream moves very quickly through a small chamber mouthpiece. This leads to a very focused and bright sound, popular among rock, pop, and R&B players  

Chamfer

The beveled edge on the side rails that surrounds the entire window.

Facing Curve

The continuous curve starting at the break point and ending at the tip rail. The facing curve can be seen on a mouthpiece by looking at it from the side. This curve varies greatly among mouthpiece brands and plays a crucial role in the response the mouthpiece gets. It is very important that the facing curve on both of the mouthpieces 'side rails' be parallel or even (unless made intentionally uneven for a specific purpose. I know some Refacers experimenting with this). It is also important that the curve be continuous and gradual, with no flat spots or bumps.

Facing Curve Length

The distance from the break point to the tip of the mouthpiece. - OR - The distance from where the thinnest measuring feeler gauge hits, to the tip of the mouthpiece. This distance is always measured in millimeters. The response of the lower notes on a horn is dependent upon this length.

Floor

The inner portion of the mouthpiece behind the baffle and before the chamber. The higher this section is the more projection the mouthpiece has. The lower it is, the darker the mouthpiece will be.

Frontal Rail

The very tip of the mouthpiece. It is the portion of the mouthpiece furthest in ones mouth while playing.

Inner Side Walls

The walls on the inside of the mouthpiece, extending from the floor up to the side rails. These are often concave in shape (like an Otto Link) or flat (like a Brilhart and most clarinet mouthpieces).

Ramp

The underside of the table. It starts at the back of the window and slopes down into the chamber of the mouthpiece.

Shank

The entire outer portion of the mouthpiece just behind the table, that is closest to the saxophone neck.

Side Rails

This is where the reed seals on each side of the window. They are what the reed vibrates against when the reed is on the mouthpiece. The shape of the side rails is the facing curve.

Table

The flat portion of the mouthpiece that the reed sits on, and the ligature clamps the reed to.

Throat

The area inside the mouthpiece where the Chamber transitions to the Bore. The throat can be round, half-round (like Selmer soloists) or square (like Selmer S-80 and S-90 mouthpieces).

Tip Opening

The distance between the reed and frontal rail. The larger this opening the more air one has to blow into the mouthpiece; the smaller this opening the less air one has to blow into the mouthpiece.

Tip Rail

At the very tip of the mouthpiece, this is where the front of reed seals with the mouthpiece while vibrating. The tip rail thickness helps determine the response of the mouthpiece. If it is too thin the mouthpiece may "chirp". If it is too thick the mouthpiece may play "dead".

Window

The open area of the mouthpiece extending between the tip rail and the table, between the two side rails.

Reference: http://www.theowanne.com/mouthpieces101/glossary.php

Why the beginner should not buy the Vintage Saxophone

1. Parts & Repair

Parts for most other vintage horns are uncommon. Not only are parts sometimes hard to find, sometimes a vintage saxophone repairman is hard to find.

2. Handmade Construction

Most horns made before 1970 are largely handmade. This means that the intonation and "feel" will vary from horn to horn.

3. Pitch

Many horns manufactured before1950 were available in “high pitch.”  It is not the pitch that most bands or orchestra tune to. (Low Pitch" or "Concert Pitch")

4. Keywork

The keywork on most vintage horns is what the manufacturer thinks is best and this can mean that it's unergonomic and difficult-to-use. Some horns even lack some chromatic keys or the front altissimo F keys.

5. Not all vintage horns are glorious. 

(If the student brought this “Vintage Saxophone” to the class, tell him or her to go home, buy another saxophone then come back for the lesson.)

Or, use it like this.........................