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The Swing Era

Overview

Transition from Dixieland

II.

Performance Practices

III.

Important Figures

IV.

Cultural Implications of the Swing Era

1. The trumpet and trombone sections together is called the brass section.

2. Background parts were generally written by the arranger as part of the arrangement, however sometimes simple background parts would be improvised in some bands (e.g., Count Basie Orchestra).

3. The members of the sax section have switched to playing clarinets, a common practice in the Swing Era

II. Performance Practices

alto saxophone

tenor saxophone

baritone saxophone

trumpet

trombone

A. Size

The typical big band had (has) four sections

sax section: generally five saxophones (two altos, two tenors, and one baritone); saxophonists usually also played clarinet

trumpet section: generally four trumpets

trombone section: generally four trombones¹

rhythm section: generally four pieces: piano, bass, guitar, drums

B. Typical arrangements

melody played by entire band (or selected members) in unison (all playing the same notes) or in harmony (some playing the melody, some playing notes that harmonize the melody); rhythm section provides accompaniment throughout

melody and accompaniment parts would often be played in turn by various sections in the band (determined by the arranger; e.g., saxes play the A sections, trumpets play the B section, brass section plays a background part behind a sax solo, etc.)

sometimes sections “talk” back and forth, i.e., the saxes play a short passage that is “answered” by the brass and vice versa; this technique is called call and response

after the melody is played, jazz improvisation follows (accompanied by the rhythm section); background parts played by other band members in unison or harmony²

listen to Fletcher Henderson’s "Wrappin’ It Up" on IHJ or online by clicking here

while listening to the arrangement of Fletcher Henderson's "Wrappin' it Up," follow the listening guide (section A)

simple musical phrases played over and over are called riffs; riffs would often be played by various sections one at a time; entire arrangements could be based on riffs

listen to Count Basie’s "One O'clock Jump" on IHJ or online by clicking here

while listening to Count Basie's "One O'clock Jump," follow the listening guide (section B)

C. Rhythm Section

drums

played simply (played simpler rhythms than Dixieland drummers), making the beat obvious for dancers

swung, emphasizing second and fourth beat of each measure (where one would snap their fingers)

bass

kept time (along with the drummer)

played notes on the first and third beats of each measure (two beat style) or on each beat (walking bass)

notes played outlined the chord progression (i.e., the root of each chord was usually played on the first beat of each chord change)

piano

played chords stride style, on every beat, or on every other beat

comping (i.e., playing chords in a syncopated fashion as to compliment improviser) was not common as it was to become in later styles

occasionally played melodies and melodic embellishments

guitar

played chords, percussively on each beat (listen to the guitar on Count Basie’s "One O’Clock Jump" on IHJ or online by clicking here, especially the piano solo choruses)

D. Swing differs from Dixieland

more use of written arrangements

wider range of compositional styles; fewer ragtime-like tunes

more solo improvisation, less collective improvisation

more use of string bass, less use of tuba

more use of guitar, no banjo

saxophone is the predominant instrument (replacing trumpet and clarinet)

Audio Snippets

Jumpin' At The Woodside - Count Basie

Main Stem - Duke Ellington

Sing Sing Sing - Benny Goodman