nafmeadmin.
nafmeadminWhat are the main differences between a jazz combo and a jazz ensemble? I have an idea that the combo is smaller. Is it also more flexible on instrumentation? If we go to festival as a jazz combo, how is that different than as a jazz ensemble. My group is only 11 this year and we have difficulty doing full jazz charts. I’d like to go to festival again, but I am missing part of the rhythm section and have weak brass (except for 1st trumpet). Ideas?
nafmeadminThe main differences between a combo and a big bands are, for the most part, the number of members, amount of improvisation involved, and types of charts played. Usually, a nonet is the largest “accepted” combo, although that’s debatable! I’ve heard the term ten-tet thrown around a bit, as well. Charles Mingus’ bands and the 1969 Ellington White House tribute band are great examples of how a large combo/small big band can sound. With the size of my school I’ve never had a full big band – always short of trbs – so what you’re describing is the reality I live with daily!
With eleven you’re right on that cusp, and your classification really depends on the rules of the festival you’re planning on attending. In terms of the band’s sound, one option would be to to see what instruments might be doubling notes in the voicing, i.e. 2nd tenor/2nd trombone, etc. and make sure you’re covering the voicing. Rewriting parts is another option there. Also, Hal Leonard has a great Small Big Band series for bands such as yours.
Usually, a combo involves playing a less arranged chart – more of a head chart generally. Typically, you’ll have more students improvise in combo due to the lack of needing to learn section solis, etc. thus allowing you more time to focus on improv. What rhythm instruments are you missing?
nafmeadminWhat exactly is your instrumentation? Full big band arrangements will sometimes work with smaller groups, sometimes they don’t. Even the Little Big Band arrangements aren’t always going to work. Its especially important to know what you have in your rhythm section.
Christopher M. Johnson, Professor of Music Education and Music Therapy, is currently the Chair of the Music Education and Music Therapy Department and Director of the Music Research Institute at the University of Kansas. Johnson earned his Ph.D. from the Florida State University.
Since his arrival at The University of Kansas, Johnson has taught courses in Instrumental Conducting, Teaching Instrumental Music, Managing Behaviors in the Music Environment, Psychology and Acoustics of Music, and Research Methods in Music Education and Music Therapy. Johnson served two terms as the editor of the International Journal of Music Education: Research, the research publication of the International Society for Music Education. He is currently serving his second term on the National Association for Music Educations Executive Committee of the Society for Research in Music Education. He also served on the editorial board of the Journal of Research in Music Education, and one earlier term as the Chair for the MENC Executive Committee of the Society for Research in Music Education. Johnson also served as the Chair for the Research Commission of the International Society for Music Education.
Johnson’s research interests include applied research in music education, and basic research in all aspects of the psychology of music. He has published articles in many journals including the Journal of Research in Music Education, the International Journal of Music Education, the Journal of Music Therapy, Journal of Band Research, Contributions to Music Education, and the Bulletin of the Council for Research in Music Education, among others. Johnson has also been an active member and contributor to the Research Seminar of the International Society for Music Education and World Alliance for Arts Education.
Johnson received a university teaching award – the Ned N. Fleming Award for Excellence in Teaching and received the recognition for Graduate Teaching Achievement from the Center for Teaching Excellence. Johnson was also awarded a lecturing & research award as a J. William Fulbright Scholar and recently received the Ella Scoble Opperman Citation for Distinguished Achievement from the Florida State University College of Music.
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