Members GuitarShredder Posted August 29, 2003 Members Posted August 29, 2003 Well, school hasn't started yet, and I'm already worrying my ass off about jazz band auditions (which aren't until end of September). This will be my first year doing guitar in jazz band, and I want to make sure I get in an extremely good combo. My guitar teacher gave me some stuff to sight read, and I've been brushing up on all my theory...but what else should I work on? Tell me about some your auditioning experiences (guitar or not).
Poparad Posted August 29, 2003 Posted August 29, 2003 Usually I'll have a standard or two like All the Things You Are or Have You Met Miss Jones or something like that from the Real Book. I'll just have it ready so I can comp along to the chord changes, play the melody, if I'm auditioning on bass I'll just walk the changes. You probably wouldn't be asked to improvise over it unless there were some sort of accompaniment available. Not everbody has Joe Pass's give of self-comped soloing. Practicing your sight reading is good if that's something you know you'll be doing. If you're auditioning for combos then you'll probably at most be playing heads and they usually aren't too bad (with the exception of bop heads). Sometimes I'll pull out my old trumpet books and read through some scale excercieses just to get my reading mind engaged.
Members 92Strat Posted August 29, 2003 Members Posted August 29, 2003 Very good advice so far...let me add a couple things from experience. As a guitarist in a jazz combo you have to understand your role. The guitarist in a jazz combo may lead with the head but if there are horns then most likely they will lead with the head (up to the leader in most cases). If you not a real strong reader then I would imagine most of your work will be playing the changes and taking an ocasional solo. There is a definate art to playing jazz changes properly, I use my thumb most of the time in a "four on the floor" type feel. But if your good with that pick learn how to play the "pick finger" approach (and I don't mean finger-picking). It's always nice for a guitarist in a jazz combo to have a good command of octaves and how to subistuite them into single note lines in your solos. Listen to "Misty" (Errol Garner) and try playing octaves over the line "but that's just what I want you to do" or in the tune "Satin Doll" put the octaves over the "out cattin' that Satin Doll" line. Whew, there's your octave lesson for the day huh? ...and play those solos with a swingin' 8th note feel till you get really comfortable. Ok, I've offered enough advice it's someone else's turn to talk..
Members bassmantele Posted August 30, 2003 Members Posted August 30, 2003 In a jazz band you're in the rhythm section - you're not Eddie Van Hendrix. If I were auditioning guys for guitar I'd look for someone who could keep time like an atomic clock, make the changes, know how to swing, and play some nice voicings, in that order. And the more tunes you're familiar with the better. You don't have to have them memorized, but you should know the form, so that when you see the lead sheet you can get it right first time.
Members riffdaddy Posted September 4, 2003 Members Posted September 4, 2003 1. Play with an appropriate tone. Dark and midrangey is the way to go. A brighter, more acoustic sound (Wes Montgomery, Joe Pass) will likely be inaudible in a big band setting. I generally aim for a very thick tone--almost Metheny-esque. If you aren't sure how to achieve this sort of sound, shoot me an email with a brief summary of the gear you're using. I can give you some ideas for settings. 2. Remember what the guitar's role is in a big band. If you're playing a Basie-era chart, you're playing chords on every beat and accenting two and four. You should be in a rhythmic lock with the bass player. Don't play anything other than quarter notes unless he does. If the drummer is feathering the bass drum, you can also follow him. If you're playing a post-Basie chart, you're really just a piano player with fewer strings and an amplifier. Listen to good piano players and steal their rhythmic ideas. Learning to comp in a tasteful manner requires big ears. 3. Play chords with your fingers. Piano players depress all the keys in a chord at the same time. You must do the same. Most of your chords should be on the upper four strings. The two bass strings are in the tessitura of the bassist. Consequently, using them tends to muddy up the texture a bit too much. 4. Play at an appropriately soft volume level. Don't drown out the band, even if you can. Generally speaking, the guitarist should be marginally softer than the pianist. On the subject of volume, remember to play with dynamics. If the band is playing soft and you're still blaring away, people will notice. Guitarists have a tough job in big bands. Historically, very few big bands have even used a guitarist--hence the phrase "last hired, first fired". I got my first gig playing with a big band because there weren't any pianists around. I learned much of what I just wrote during my first few weeks playing with that group. I will also tell you that I have never been happy playing in a big band ever since. I miss being afforded the type of freedom that exists when there is no pianist. If you are ever lucky enough to be in this scenario, treasure the experience. Experiences like that one are few and far between.
Members MorePaul Posted September 4, 2003 Members Posted September 4, 2003 RELAX! -- tension is the enemy (don't worry, juries know this though) but don't worry about getting "the best slot" , esp as it's your first year - you want to get something "level appropriate" which is the whole reason behind putting you through a jury. While playing with good musicans, of course, can teach you things - if they start throwing pieces that are much to difficult or are moving at a rate in which you are constantly and hopelessly lost...it isn't going to do you much good. Expect there to be a few folks more experienced than you, some folks less experienced you, a cavlier bass player and some very weird horn guys. Most of all relax and enjoy the ride!
Members GuitarShredder Posted September 5, 2003 Author Members Posted September 5, 2003 Well, I pretty much know everyone auditioning...and I know if I really work at it I can get the top 1st or second spot. That's the whole point My goal is to be in the top combo...and I know I can do it.
Members MorePaul Posted September 5, 2003 Members Posted September 5, 2003 Is it all 1st years?In that case, the goal should be to keep the whole damn train from sliding off the track!Seriously, in the first year you are going to have your hands full anyway (is this university?)
Members GuitarShredder Posted September 7, 2003 Author Members Posted September 7, 2003 Originally posted by MorePaul Is it all 1st years? In that case, the goal should be to keep the whole damn train from sliding off the track! Seriously, in the first year you are going to have your hands full anyway (is this university?) Nah, it's not all first years. It's just I know I'm better than most of the guitarists there (I've been playing for awhile...but jazz I've only been working on for 9 months). It's high school by the way.
Members MorePaul Posted September 8, 2003 Members Posted September 8, 2003 uh-uh - 'most'...sounds like there's a couple of guys in the mix don't worry about it too much, esp at the beginning, just working within a jazz ens context is enough to worry about.don't let the "good, better best" get in the way - in the coming years you'll kick a little ass, and have your ass handed to you.let us know how it turns out
Members GuitarShredder Posted September 9, 2003 Author Members Posted September 9, 2003 Alright well auditions are next week. Anyway, we can pretty much play anything we want for the first part, and for the second part we'll do some simple blues and improvisation.I'm working on a killer Charlie Christian/Wes Montgomery medly.
Poparad Posted September 9, 2003 Posted September 9, 2003 Originally posted by GuitarShredder Alright well auditions are next week. Anyway, we can pretty much play anything we want for the first part, and for the second part we'll do some simple blues and improvisation. I'm working on a killer Charlie Christian/Wes Montgomery medly.
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