6. Comping#

In traditional New Orleans jazz, the use of riffs is an important part of the musical language. A riff is a short, catchy phrase or melody that is repeated and played by multiple instruments in the band. Riffs can be used to create a cohesive and driving sound, and are a key element of the jazz tradition.

In this chapter, we will explore the various ways in which musicians in a traditional New Orleans jazz band play riffs together, and how they use riffs to create a cohesive and dynamic sound. From the call-and-response between the front line instruments to the tight coordination of the rhythm section, the ability to play riffs together and respond to one another is a crucial part of the jazz tradition. By understanding the ways in which musicians in a traditional New Orleans jazz band play riffs together, we can better appreciate the collaborative and improvisational nature of this exciting and vibrant musical style.

6.1. Rhytmic variations#

Rhythm is an essential element of music that helps to give it its pulse and energy. In this chapter, we will explore how rhythmic variations can be used to make music more interesting and dynamic. From stop-time choruses and Charleston beats to syncopation and polyrhythms, there are countless ways that musicians can manipulate rhythm to create a wide range of musical effects. By adding complexity and variety to their rhythms, musicians can keep their audience engaged and create a more engaging listening experience. In the following pages, we will delve into the various techniques and approaches that musicians can use to add rhythmic interest to their music.

Some different rhytmic variations used:

6.1.1. Stop-time#

Stop-time choruses are a common technique used in popular music, particularly in blues and jazz, to add excitement and energy to a song. In a jazz band setting, a stop-time chorus during a solo can be used to highlight the soloist and give them more space to improvise. To create a stop-time chorus, the band may drop out for a brief moment, leaving the soloist to play unaccompanied. The soloist can then continue to improvise through the stop-time section, showcasing their skills. After a short period of time, the band may come back in and resume the accompaniment, providing a sense of release and resolution. While it is possible for a stop-time chorus to involve playing only on the first beat of a measure, this is not necessarily the case, and there are many different ways that a stop-time chorus can be structured.”

6.1.2. Charleston beat#

The Charleston beat is a rhythmic pattern that was popular in jazz and popular music in the 1920s. It is characterized by a fast, syncopated rhythm with an accent on the second and fourth beats of a 4/4 measure. The Charleston beat is typically played on the drums or on a percussion instrument such as a washboard, and it is often associated with the Charleston dance, which was popular at the time.

Here’s an example of how the Charleston beat might be written in drum notation:

|X---|X---|X---|X---|
|----|X---|----|X---|

In this notation, the X’s represent accented beats, and the dashes represent unaccented beats. The Charleston beat is typically played at a fast tempo and can add energy and excitement to a song. It is often used in jazz and blues music, as well as in other genres that incorporate elements of jazz and blues.

6.1.3. Reverse Charleston#

6.1.4. Two-Feel#

6.1.5. Four-feel#

6.2. Choosing riff notes#

Harmonizing with other players in a New Orleans brass band is an essential aspect of the genre’s rich and vibrant sound. Choosing the right notes to blend with those of your fellow musicians can make all the difference in creating a cohesive and dynamic performance. In this chapter, we will explore some of the key considerations for selecting harmonizing notes, including the role of the melody, the use of chord progressions, and the importance of listening to and reacting to the other players in the band. By understanding these principles and applying them in your own playing, you will be able to add depth and complexity to your brass band’s sound and bring your performances to new heights.

One of the most important considerations when harmonizing in a brass band is the melody. As a harmonizing instrument, it is important to support and enhance the melody rather than compete with it or distract from it. When selecting harmonizing notes, try to choose ones that complement and add interest to the melody rather than drawing too much attention to themselves.

Chord progressions can also be a useful tool for choosing harmonizing notes. By understanding the chord structure of a song, you can choose notes that fit within the underlying harmonies and help to create a cohesive sound. Paying attention to the other instruments in the band and the roles they play in the chord progression can also help you choose appropriate harmonizing notes.

In addition to these musical considerations, it is important to listen to and react to the other players in the band. In a brass band, each instrument plays a unique role and contributes to the overall sound. By listening to the other players and adjusting your own playing accordingly, you can help create a cohesive and dynamic performance.

Finally, don’t be afraid to experiment and try out different harmonizing approaches. The beauty of brass band music is its flexibility and room for individual expression. By trying out different approaches and finding what works best for you and your bandmates, you can help bring your performances to new heights.

6.3. Resources#