www.indyjazz.org > Education Resources > Articles > Traditional Big Band Hierarchy for the Developing Jazz Ensemble

Often, the inexperienced director gives little thought to the placement of students within the jazz ensemble. Typically the “tried and true” concert band method is used. That is, the best student on the first part, the next best on the second part, etc. While this strategy may work well for the concert or marching band, it’s not always effective for addressing the special needs of the jazz band. Unlike concert and marching band arrangements, jazz ensemble charts are designed to sound best with only one person on each part. Also, because of tradition and practice, many positions within the jazz ensemble have developed specific roles and expectations. These roles tend to differ substantially from other large instrumental ensembles. The scholastic band director must keep all of this in mind when trying to develop a young jazz ensemble. The following positions are listed in their relative order of importance to the modern big jazz band. They’re listed from most important to least important. It’s critical to fully understand this general hierarchy before trying to develop a young jazz ensemble. Although this hierarchy certainly applies to all big band jazz ensembles (professional and otherwise), this particular version is tailored to fit the high school or young college band. 1. Lead Trumpet and Drum Set These two positions are unquestionably the most important parts of any big band jazz ensemble. Without strong and mature players in both of these spots, it’s almost impossible to have an outstanding performing group. Any director of a developing jazz band should expend maximum effort in nurturing, developing, and maintaining these positions. The lead trumpet establishes the sound, style and direction of the ensemble. When choosing a trumpet player to lead a big band, range should not be the sole (or in some cases even the primary) factor to consider. A young lead trumpet player must first be a leader who has a good overall understanding of (or the ability to learn about) differing musical styles. Next, the young lead trumpet player must have a strong and mature sound that can easily command the attention of the group. Good sight-reading ability is also extremely important. Jazz improvisation ability should not be a major factor in choosing a lead trumpet player. While a good upper register in a lead trumpet player is certainly a plus, the jazz band director must be sure to nurture rather than exploit this ability. Literature must be chosen that matches or only slightly challenges the developing lead player’s range limitations. All to often, scholastic jazz band directors choose music that range-wise is better suited to the professional rather than the student. It’s extremely easy to physically “burn out” a young player, possibly even for life, if they’re pushed too hard too soon. Remember that only a mature college or extremely mature (and extremely rare) high school trumpet player is physically ready for any extreme-range development work. Please see upcoming article on “Developing the Young Lead Trumpet Player.” The drummer is as equally important as the lead trumpet in the modern big band. The drummer must drive the band and act as its primary timekeeper. The drummer must also be able to perform a wide variety of rhythm styles with confidence all the while interpreting sometimes poorly written drum parts. Frequently, choosing a drummer is where inexperienced jazz band directors make some very big mistakes. Often, the drum chair is relegated to the first student who shows any interest in the position or the only kid who actually owns a drum set, etc. Often these “drummers by default” are only interested in playing along with hard rock CD’s in their basements and are not always the best candidates for one of the most critical spots in the ensemble. Like the lead trumpet player, the drummer must first exhibit outstanding leadership and musical skill. If an existing drum set player with these prerequisites is not readily available, it might be possible to recruit another percussionist from the concert band ranks. Percussion section-leaders who also have excellent snare drum skills tend make outstanding drum set trainees. They will most likely already have the rudimentary and time-keeping skills necessary to make a very strong start on drum set. For this specific purpose, all scholastic jazz programs should have their own reasonable-quality drum set. It’s also a very good idea for the young drummer to take at least occasional lessons from a local professional or college-level player who is an experienced big band drummer. 2. Bass and Piano Although the bass and piano player complete the rhythm section, their development is frequently neglected in the scholastic jazz band setting. A complete, solid rhythm section is an absolute prerequisite for having an outstanding jazz ensemble. It’s definitely an area that must be nurtured and not left to happenstance or "whoever shows up." Having all the great horn players in the world won’t amount to much without a confident rhythm section supporting them. The bass is the pulse of the band and also plays a strong secondary role to the drums in keeping time. A good bass player must be able to read written-out bass parts as well as create bass lines just using chord symbols. Once again, rather than entrust this crucial role to the kid who’s only experience is jamming with a garage band (and can’t read a note of music), the jazz band director should look to the concert band or orchestra. Many large high schools have symphony orchestra programs that are the perfect training ground for future jazz band bassists. These students already read music, know the instrument, and are familiar with the role of the bass player. A good tuba player can also learn to be an equally good electric bass player in a surprisingly short amount of time. That’s why, just like a drum set, it’s also a good idea for every school jazz program to own a decent electric bass. Concerning the young bass player learning to construct bass lines from chord symbols, Jamey Aebersold Jazz Publications (www.jazzbooks.com) offers many helpful books that address this topic. Just a word about electric bass versus upright (acoustic) bass: Generally speaking, the electric bass is technically easier to play and operate than upright bass. The rule-of-thumb is that a good electric bass player is far superior to a mediocre or poor upright bassist. Although upright bass is by far the preferred choice of professional and advanced college bands, electric bass is probably the best functional choice for most high school groups. Finding a competent piano player can be a real challenge for the scholastic jazz band director. Like the bass, the piano must be able to read parts that are completely written out as well as parts that have chord symbols only. Frequently, one must look outside the band program for students who have had formal piano training. Pianists who have had experience accompanying vocal groups can often transition very quickly to fit the requirements of the jazz band. They’re generally good sight-readers, which certainly satisfies at least one important criteria. Once again, Jamey Abersold Jazz Publications (www.jazzbooks.com) offers many books that deal directly with the problem of reading and playing chord symbols. 3. Lead Alto Sax and Lead Trombone The “sax soli” is a prominent feature in many big band arrangements. Because of this, the lead alto must lead the sax section with confidence and skill. Strong leadership and musical abilities are a must. The player chosen to play lead alto should be the best sight-reader in the sax section. A mature and commanding sound is also very important. Although jazz improvisation ability is a plus, it should not be a prerequisite to fill the chair. Leadership, musicality, and sound should always be the major considerations when choosing a lead alto player. If a sax player with these characteristics has already moved to tenor sax, a director should not hesitate moving that player back to alto. The lead trombone must possess similar abilities as the lead trumpet player. Sound, leadership, musicality, and sight-reading are all paramount. Like the lead alto, improvisation ability should be considered a plus, not a prerequisite. The young lead trombone player should learn to perform on a “straight” (no F-attachment), medium to small bore horn. At first this may prove to be a disappointment for the young player who often regards the F-attachment trombone as what “professionals” play. With time and understanding the trombone student will eventually come to accept that the “straight” horn is the preferred instrument of the jazz genre (see the bass trombone exception below). Please refer to the "Playing Lead Trombone in a Jazz Band" article available on this website. 4. Jazz Tenor and Jazz Trumpet Jazz improvisation solos can and do appear in almost any part in a given arrangement. Typically however, most jazz solos appear in either the 1st tenor sax or the 2nd trumpet part. This is particularly true of published arrangements aimed at school ensembles. Because of this, special care must be taken in choosing the players to fill these two positions. Having said this, it should be stressed that all students involved in a school jazz band program should work at least a little bit on improvisation. The players filling these two positions should have an excellent mastery of their scales. They should be the very best at this in their respective sections. Their ability to play proficiently in many different keys (not just run the scales) should be the prime concern. Obviously, they should be technically very strong on their instruments. Equally important should be a desire and motivation to develop jazz improvisation skills. The ability to work hard independently must also be present. In the case of jazz tenor, a director should not hesitate to switch an alto player with these characteristics over to tenor if necessary. As mentioned, Jamey Abersold Jazz Publications (www.jazzbooks.com) is the universally recognized standard for method books and recordings about jazz improvisation. (Please see upcoming articles that deal in-depth with teaching improvisation in the jazz ensemble setting). 5. Bass Trombone and Bari Sax These two instruments play a very specialized role in the jazz band. Bass trombone and bari sax must balance the upper parts by providing a “bottom” to the horns. After the lead players in each section, these musicians play the most important horn parts in the ensemble. These are not the spots for weak or struggling students. They require strong players that have an understanding and appreciation for their important (and often under appreciated) place in the band. Dedication to learning a specialized instrument is also most critical. All good school jazz programs should own a decent bari sax and a genuine bass trombone (an F-attachment-only horn won’t fill the bill in the long run). In addition to regular trombone players, Tuba or even baritone players often make excellent Bass Trombone converts (after learning some slide technique of course). As always, some professional lessons are always helpful with any new bari sax or bass trombone student. 6. 2nd Alto Sax, 3rd Trumpet, and 2nd Trombone These three positions should always be reserved for the "lead players in training." The jazz band director should always have an eye to the future. With this in mind, it’s important to place young musicians in these spots who have the potential “right stuff” for being a lead player. In the meantime, they should be encouraged to occasionally take over the lead reins in their respective sections. This gives them some valuable experience as well as “spelling” the primary lead player (this is particularly important for brass players). Professional and advanced college jazz bands frequently have “split lead” trumpet and trombone players in each section. 7. 2nd Tenor Sax, 4th Trumpet, and 3rd Trombone Ideally, it would be wonderful to have strong players on every part in the jazz ensemble. It’s certainly a noble goal for which all directors should strive. Reality however, tells us that in most scholastic ensembles there are always at least a few weak players. The positions listed above are in the best places to “hide” struggling musicians. They are the best spots to place those who follow much better than they lead. Placed in between stronger players, these students will have a much better chance a blending with the ensemble. Most importantly, it gives them a chance to grow and develop as musicians. This should be the ultimate goal! Please note that the evaluation of the above three positions applies only to the developing high school or college jazz ensemble (and applicable literature). It doesn’t apply to the professional or advanced college jazz band. These groups typically have strong players on every part. This has a profound effect on the literature that is written for these groups. For example, in a professional band the 4th trumpet will sometimes be the primary jazz trumpet book. Quite often, the 2nd Tenor will have almost just as many jazz solos as the 1st Tenor. Also, 3rd Trombone in a professional group can be the split lead player, the jazz trombone soloist, or even both! 8. Guitar The guitar is neither a regular nor necessary part of the typical big jazz band. This is not to disparage the guitar as a musical instrument. It’s just that most jazz band arrangements are not at all dependent on having a guitar player on board. While a skilled guitarist can certainly enhance a jazz band, a mediocre or poor one can do it irreparable harm. Big band jazz guitar is an extremely specialized skill that absolutely requires at least some private lesson study. Garage band guitarists are not acceptable. Unless a prospective guitarist is very talented, it’s probably best just to leave it out of the group altogether.