The Role of Each Instrument In Dixieland

The Role of Each Instrument in Dixieland
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Dixieland music is a player's art. The musician enjoys a great deal of latitude injecting his or her own ideas and interpretations in the composition. The melody expressed by one player may be entirely different when played by another.

Trumpet

The trumpet is traditionally the lead instrument in the Dixieland band. In a tune's opening, the trumpet player is best suited to lay down a strong lead for the other members of the band to then grasp and take in their own direction. A weak or unsure trumpet makes for a nebulous performance by the entire group. If the trumpet does not show strong direction, the ensemble can sound like a fire in a pet shop! Ideally, the Dixieland band generates a feeling of fun with its notes and rhythms.

The listener’s attention inevitably goes to the trumpet. As a result, ensemble interplay sections may consequently sound like an embellished trumpet solo. On a standard Dixieland tune, the ensemble takes up about one third of the playing time, with the remainder being allotted to individual solos.

The recording package with the trumpet book of this series is specifically mixed for trumpeters. The Melody is omitted throughout in the play-along portion, giving the player ample opportunity to lead the band. In addition, there are many improvisation choruses provided for both soloing and ensemble interplay. Directions are clearly marked on the parts (Note: The C and E-flat books are also organized in this same format.)

If you have any trouble playing the melodies, you may wish to play along with the full-band recording until you feel comfortable on you own. Remember that the music notation is in lead-sheet style, and does not need to be interpreted literally. Be prepared to bring your own personality into each performance. Listen to the full-band performance for inspiration.

Clarinet

In Dixieland ensemble playing, the clarinet has the freedom to play against the lead set by the trumpet. He or she may serve the band best by playing obligatos against the trumpet line, or thirds in harmony with the trumpeter’s phrases. It is not characteristic to the Dixieland style to play in unison or octaves with the lead.

The play-along portion of the recording packaged with the clarinet book of this series is specifically mixed for clarinetists. The trumpet melody is present, except in instances where it is appropriate for the clarinet to play the lead. The clarinet part is omitted. Beginning players may want to play the melody with the trumpet during the first few passes to become familiar with the phrasing, but it is as that is the traditional role of the instrument. Only the melody is notated in the Clarinet Book, which is representative of the lead sheets you will encounter in a live performance situation. You will need to improvise your harmony part, usually a third above the trumpet. As in the trumpet book, there are numerous improvisation choruses provided throughout. Again, listen to the full-band performance for inspiration.

Trombone

The trombone is best utilized by playing lyrically within the framework of the harmonic roots. He or she therefore improvises sparingly during ensembles and stays out of the registers of the trumpet and clarinet. This is the essence of the “tailgate trombone” style. An overly enthusiastic trombone player who “steps” on the notes of his/her other band members has no friends in the Dixieland band. “Tailgate trombone” playing is an art unto itself.

The play-along portion of the recording packaged with the trombone book of this series is specifically mixed for trombonists. Generally both the trumpet melody and the clarinet obligatos are present on the recording, and the trombone part is omitted. While the melody improvised on the parts, you should practice harmonizing below the melody. Several tunes feature a trombone lead for a short time, and these are clearly noted on the parts.

Tenor Saxophone

The tenor saxophone is an added voice in the front line. Finding the fourth part in the ensemble is extremely difficult. Its part can be likened to a baritone voice in a barber shop quartet. Only after lengthy practice sessions and extended playing experience can this voice be properly executed. Remember; don’t just go off by yourself. Listen to the other horns and stay off their notes. Of course, in the absence of a clarinet, the tenor’s job is considerably less confining. To practice fitting in the fourth harmony part wit the recording included in this series, you should use the B-flat (clarinet) book, playing along with the full-band performance. To practice soling, use the play-along mix (tracks 11-20). (Alto sax players should use the E-flat book).

Piano

Ideally, the rhythm section functions as a cohesive unit. It lays down a firm beat, shades and colors the performances, and sympathetically accompanies the horns.

The piano player can drive a soloist to great musical heights by playing fierce left-hand rhythm pulses using tenths and moving bass lines, or the pianist can cushion the soloist by playing sparsely with appropriately selected chords. Here it should be noted that the use of diminished chords is preferred over the ii-V substitution used in progressive jazz. In the piano book, easy chord Voicings are provided simply as a point of departure for less-experienced players. Try not to play the parts strictly as written, as the result may be stiff and uncharacteristic. Instead, improvise with different inversions and rhythms. Advanced-level musicians should improvise their own Voicings.

Banjo (Guitar)

The banjo is pr9imarily used as a rhythmic additive. Melody banjo is out of the question. The banjoist on this recording used a four-string banjo. The banjo player’s most effective contribution is to restrict him or herself to the task of rhythmic support. Banjo was only used on five of the 10 songs on this recording (tracks 5, 7, 8. 10, 11). However, feel free to play along to every song if you wish.

The play-along portion of the recording that is packaged with the piano/banjo book of this series is specifically mixed for piano and banjo players. While no parts are actually omitted, we’ve mixed the recording with the piano on the right channel and the banjo on the left channel. As a result, you may “dial-out” the part you want to play.

Drums

The drummer can have great fun playing this music, and should take the reigns of the band. Launching one solo and ushering in the next can be achieved with the simple dropping of a stick. With the wide range of colors associated with the drum kit, the drummer can enhance the ensembles and the ideas of the individual soloist. Cowbell and woodblock are often added to the drum kit, and you may want to experiment with cymbal selection, and the size and tuning of the drums.

The play-along portion of the recording that is packaged with the bass/drums book of this series is specifically mixed for bassists and drummers. While no parts are actually omitted we’ve mixed the recording with the bass on the right channel and the drums on the left channel. As a result, you may “dial-out” the part you want to play. (Note: Drum parts cannot be dialed out on short introductions that set up the tempo).

Bass

The string bass player is the workhorse of the Dixieland band. His or her job is to keep time, lay down roots and swing. The bassist can change the feel by playing “in 2” during the ensembles and “in 4” for solos, or vice versa. The element of surprise is one of the joys of Dixieland. The shock of players’ impulses and the subsequent reaction by the others is what captures the listener’s interest. Listen to the full-band performance. Roots and fifths of the chords are typically played, with walking patterns that support what the pianist is playing.

Again, the play-along portion of the recording is mixed with the bass on the right channel, allowing you to “dial out” the bass part.

Tuba

The tuba is only used in the absence of string bass. Its function is principally the same as the bass player’s, but due to the physical limitations of the instrument, the tuba is predominately forced to be played “in 2,” using roots and fifths. The energetic tuba player who tries to pay “in 4” usually creates a ponderous effect that bogs down the performance. The Dixieland band using the tuba in the correct manner will generate a more traditional two-beat style as opposed to the swinging Dixie band using the upright string bass.