Jazz has long been considered to be one of the most demanding forms of contemporary music to master. So much so, that many would be Jazz musicians will spend years learning music theory, alongside developing advanced playing techniques, simply to get a start in this fascinating musical genre.
The major difference between Jazz and most other forms of music is in the fact that improvisation is not only encouraged, it forms the very backbone of the style. Although there are many Jazz classics, no two musicians or bands will play these songs the same. They will follow the basic progression, but will be given a new inflection through personal and group improvisation.
The ability to play improvisations relies heavily upon two things; first the musicians creativity, and secondly upon the musicians knowledge of musical theory. Of course, there are many fine Jazz players out there who will tell you that they do not know any music theory. The simple truth of the matter is that they do, they just do not know it. They have spent years learning to play by ear, and although they cannot name the correct musical terms for what they do when they are playing, they are clearly demonstrating a deep knowledge of music theory at a base level.
For those wishing to take up playing Jazz, then a firm grounding in music theory is entirely recommended. Even the rhythm section of a Jazz band is encouraged to improvise and embellish the piece being played. Rhythm guitar players will be called upon to construct complex chord patterns, including augmented, diminished, 5th, 9th and 13th chords. They will also be expected to follow the soloist, should they decide to shift tempo, key or mode.
As a soloist, playing Jazz is all about creativity, backup up by an understanding of what they are doing musically. Many Jazz musicians, when questioned about scales, will smile and reply, “What is a scale? I don’t know any!” This is something of an insider’s Jazz joke, as most Jazz soloists play what they feel, not what they know works mathematically. Of course, this is far from the truth, but a Jazz player will have transcended standard scales in many ways. Instead, using their ear, they will be able to find step off points, into new scales and modes, shifting the music as they go. This of course, requires an immense amount of theoretical knowledge, either learned conventionally, or learned over years of playing by ear.
Playing Jazz can be one of the most rewarding experiences any guitar player is likely to experience. A good Jazz performance will see the musician develop ideas, and musical concepts on the fly, breathing fresh life into Jazz classics, while enthralling the audience like a true virtuoso. Although a thorough understanding of music theory is not a prerequisite for becoming a competent Jazz player, it can be seen as an effective short cut, removing the requirement to play Jazz for decades before becoming entirely competent in its application.
By: Bill Kernodle
Jazz is a musical art form that has expanded well beyond its own genre definition, transforming with every era and begetting countless other popular modern genre forms in the process. As an artistic invention of African American communities primarily in the Southern region of the United States, jazz finds its earliest roots in New Orleans, where black performers blended Southern blues, the startling variations of Caribbean music, and an altered form of traditional European instrumentation.
Resistance to “hot jazz” in the early twentieth century ultimately contributed to the evolution of jazz music in the 1930s. In the 1920s, jazz music had spread to the North, Chicago and New York, where bands gave their performances on the margins of society. During the Prohibition era, jazz was often performed in illegal speakeasies and the Red Light district, causing this “wild” music to be associated with the decadence of that era. However, with the onset of the depression the Dixieland jazz that had dominated up until the end of the 1920s was gradually supplanted.
The End of Dixieland
Jazz slowly began to creep in at the edges of mainstream music because of its popularity on college campuses, and in general, amongst American youth. The evolution of jazz music in the 1930s amounted to a compromise between the music industry and the older generation of white Americans, who were gradually accepting the presence of jazz music in popular culture. However, this increasing popularization affected a considerable dilution of the form, shedding much of the raw, impromptu quality of earlier Dixieland jazz.
Dixieland was characterized by the convergence of many forms – polyrhythmic ragtimes, the low pitch of blue notes, French Quadrilles, and improvisation, as well as a large rhythm section of the trombone, trumpets, tuba, guitars, clarinet, the piano, drums, and banjo. It was unpredictable, and the individual performers showcased their improvisational skills, playing from their souls not their notes.
The Rise of Big Band Swing
At the beginning of the decade white big band swing performers played “sweet” jazz, making use of violins and arranged sheet music. The reasons for this particular evolution of jazz music in the 1930s were twofold. It was more composed and less offensive to the older white American audience. At the same time, the onset of the Depression created a widespread need for inexpensive pleasantries, and jazz-inspired music gradually gained footing in the newly burgeoning radio industry.
The more recognizable swing arrangements evolved when dancing became linked to big band. Dance styles, such as the Lindy Hop, that had been popularized in black communities in the 1920s were appropriated by white teenagers and introduced in dance halls. Swing orchestras became larger, with 20-25 pieces in a typical band. Music was still arranged, but individual performers were given complex solos, and as was also typical in sweet jazz, a singer performed vocals to the music. Popular performers of the era include Shep Fields, Benny Goodman, and Glenn Miller.
The undomesticated “hot jazz” of black performers – including Duke Ellington, Count Basie, and Jimmie Lunceford – persisted throughout the big band era, but never gained the popularity of its white counterpart. Big band singlehandedly dominated the entertainment industry, extending beyond radio to television and film in the 1940s. The evolution of jazz music in the 1930s led to its eventual popularity across the continent and later, internationally. Jazz music has been adapted globally across cultural lines, but its humble roots remain in New Orleans, Louisiana.
By: Ian Pennington