in non-classical - woodwinds i resource...

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in Non-Classical Environments When it comes to performing jazz weli, it's all fl the timing. by Bill McBirnie â T o perform convincingly in non-classical contexts, it is important to develop alternative technical approaches to the instrument and to come to a thorough understanding of the melodic/harmonic relationships underlying the music—whether it is hebop, Latin, pop, or swing. Perhaps the most important thing is to cultivate a strong sense of time. This article's discussion and illustrations apply specifically to musical settings in which there is a defined pulse, as opposed to musical settings in which the time element might be functioning on a different level, such as rubato or free playing. This article's focus is on technical means by which a good time feel can be achieved in playing flute in non-classical environments. Time is of the Essence In jiizz, Latin, pop, and rock settings, it is vital that time is communicated to the listener in a compelling manner, because if the time feel is not strong and convincing, no amount of facility on any other performance dimension will compensate for its absence. To illustrate this point in a progressive jazz context, consider the mid-1960s Miles Davis band, which, with Wayne Shorter, Herbie Hancock, Ron Carter, and 7bny Williams, was probably one of the greatest small jazz ensembles, responsible for such classic recordings as ESP, Miles Smiles, Sorcerer, and Nefertiti. At times, it seemed as though iho soloist was improvising without a fixed harmonic progression or diatonic point of reference. Yet tbe overall result is utterly compelling. Why? Because tbe rhythmic dimension is handled with such power and conviction by tbe entire ensemble that the harmonic and melodic aspects become quite secondary. It also is worth observing tbat the choice of "notes" is sometimes not as vital as tbe "time" in improvisatory settings because tbe ear will actually tolerate a certain measure of "wrong" notes (this is not an excuse to be sloppy!) if the time dimension is handled with strength and conviction, whereas a beautiful and faultless line will mean little to the listener if the time dimension is handled poorly. The Fundamental Problem Many players from ihe classical liadition are unsuccessful at achieving good results in non-classical situations, not because they lack the technical means, but rather because they approach the instrument from a classical standpoint tbat is not always relevant. On the other band, many players from non-classical traditions also are unsuccessful at achieving good results, but not because they lack the idiomatic understanding, but rather because they lack technical fluency on the instrument. (Indeed, many of these players are doublers.) In either case, the listener often The Flulisl Quarlerly Winier 2006

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Page 1: in Non-Classical - Woodwinds I Resource Filehenglerwoodwindresourcefile.weebly.com/uploads/2/...in_nonclassical... · Shorter, Herbie Hancock, ... Sorcerer, and Nefertiti. At times,

in Non-ClassicalEnvironmentsWhen it comes to performing jazz weli, it's all fl

the timing.

by Bill McBirnie

â

To perform convincingly in non-classical contexts, itis important to develop alternative technicalapproaches to the instrument and to come to a thorough

understanding of the melodic/harmonic relationshipsunderlying the music—whether it is hebop, Latin, pop, orswing. Perhaps the most important thing is to cultivate astrong sense of time.

This article's discussion and illustrations apply specificallyto musical settings in which there is a defined pulse, asopposed to musical settings in which the time elementmight be functioning on a different level, such as rubato orfree playing. This article's focus is on technical means bywhich a good time feel can be achieved in playing flute innon-classical environments.

Time is of the EssenceIn jiizz, Latin, pop, and rock settings, it is vital that time iscommunicated to the listener in a compelling manner,because if the time feel is not strong and convincing, noamount of facility on any other performance dimensionwill compensate for its absence.

To illustrate this point in a progressive jazz context, considerthe mid-1960s Miles Davis band, which, with WayneShorter, Herbie Hancock, Ron Carter, and 7bny Williams,was probably one of the greatest small jazz ensembles,responsible for such classic recordings as ESP, Miles Smiles,

Sorcerer, and Nefertiti. At times, it seemed as though ihosoloist was improvising without a fixed harmonic progressionor diatonic point of reference. Yet tbe overall result is utterlycompelling. Why? Because tbe rhythmic dimension ishandled with such power and conviction by tbe entireensemble that the harmonic and melodic aspects becomequite secondary.

It also is worth observing tbat the choice of "notes" issometimes not as vital as tbe "time" in improvisatory settingsbecause tbe ear will actually tolerate a certain measure of"wrong" notes (this is not an excuse to be sloppy!) if thetime dimension is handled with strength and conviction,whereas a beautiful and faultless line will mean little to thelistener if the time dimension is handled poorly.

The Fundamental ProblemMany players from ihe classical liadition are unsuccessfulat achieving good results in non-classical situations, notbecause they lack the technical means, but rather becausethey approach the instrument from a classical standpointtbat is not always relevant. On the other band, many playersfrom non-classical traditions also are unsuccessful atachieving good results, but not because they lack theidiomatic understanding, but rather because they lacktechnical fluency on the instrument. (Indeed, many ofthese players are doublers.) In either case, the listener often

The Flulisl Quarlerly Winier 2006

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Overuse of vibrato is one of the first indicators of a ''classical refugee."

hiis to witness flutists in non-classical situations strugglewith the instrument.

In short, for quite different reasons, both technicallycompetent and technically incompetent flute players oftenachieve inferior results when performing in non-classicalenvironments. Alternative technical (e.g., physical)approaches might serve to enhance the player's non-classicalmusical results.

ArticulationClassical players tend to use "too-koo" or "doo-yoo" phoneticsin articulating. The first thing to recognize in non-classicalplaying situations is that, in many cases, articulation is notrequired to produce a good time feel at all. Why? Becausethe way in which the air is fed into the instrument is amuch more important and decisive factor. (More aboutthis later.) Indeed, too much conventional articulation innon-classical situations can give rise to what sounds like"sputtering," and it can fragment the line to the point atwhich it lacks continuity and flow. The solution? Quitesimple: Tongue less!

Moreover, "phonetics" alternative to the conventional onescited earlier are required, preferably ones based on softer, lessprecise or harsh attacks. A recommended operative phoneticis "doo die." This phonetic is far more effective than theconventional ones because it is less harsh (and, therefore, lessinclined to give rise to "sputtering"). It is also useful for"ghosting" tones, an important and necessary facility for thenon-classical flute player to cultivate and develop.

Interestingly enough, a classical player may find the"dt)o-dle" phonetic non-intuitive or perhaps even objec-tionable, while a non-classical player/doubler might noteven think of it. What is important to recognize here isth.it, iillimatciy, alternative and unorthodox approaches toarlicuialion must be considered if you wish to sound con-vincing and avoid sounding like a classical player merelyattempting to cross over into the non-classical realm.

Another seemingly trivial but, in fact, equally criticalpoint to bear in mind when playing in non-classical contextsis that you must start to think more percussively and learnto articulate accordingly. For example, short tones will havefar more impact if they are really short. And such notes orphrases should be struck with a correspondingly sharpphonetic—make up your own, if need be—and withabsolutely no lingering breath in the air column. Thisapproach will ultimately inject more snap and sparkle inyour lines.

Finally, worth repeating; Always view not articulating asa legitimate alternative to tonguing excessively.

BreathingClassical players tend to feed air into the instrument in arelatively constant stream. Dynamic shifts are often effected

gradually or from phrase to phrase. However, in non-classicalenvironments, the air column must often "bounce," some-times from beat to beat, sometimes within beats. For example,in bebop, swing, or shuffle grooves, the rhythmic approachto feeding air into the instrument calls for a very slight"huffing" action with a small push on the upbeats. If youcan develop this breathing technique subtly to the point atwhich it feels and sounds quite natural (i.e., it swings), awhole new range of sound and rhythmic possibilities willopen up to you.

Also, it is important to "swell" and "compress" bothphrases and tones for dramatic effect and highlighting.While non-classical reed players, from Charlie Parker toDavid Sanborn, do this frequently and to very good effect,non-classical flute players rarely do the same thing. Yetswells and compresses can most assuredly introduceheightened emotion into even the simplest of phrases.

VibratoClassical performers tend to inflect most exposed and sustainedtones to vibrato. In non classical contexts, this approach isunwise. Indeed, you should re examine your use of vibratowhen functioning in non-classical contexts. Overuse ofvibrato is one of the first indicators of a "classical refugee."Have a listen to Hubert Laws, who long since crossed overfrom the classical to the non-classical realm. He has adefinitive sound—and without excessive vibrato—a soundthat is gratifying to both classical and non-classical listeners.

In addition, classical performers are inclined to use arelatively fast-paced vibrato, whereas, generally speaking, aslower-paced vibrato is often more effective in non-classicalsituations. Indeed, as an illustrative alternative, a "slowwave" can yield a very interesting effect in some circum-stances. F.xplore all aspects of the vibrato spectrum (i.e.,with respect to both depth and speed) and do not feelbound to a strict, proper, or "legit" style of vibrato.

Ultimately, a straight tone is often, in fact, far preferableto an inflected tone in producing a good non-classicalmusical result. Accordingly, you should always view astraight tone as a legitimate alternative to an inflected tone.And if you have any doubt on this point, listen to RayCharles or Aretha Franklin or any really good soul singer,and observe how and when—and sometimes the very limitedextent to which—they use vibrato! Intieed, compresses andswells becotne much more central in tlieir approach.

AcousticsMost flute players strive to produce a "nice" sound andnotably with respect to the third register. In non-classicalsituations, it is both expedient and sensible to succumb towhat is acoustically irresistible (especially in the presenceof drummers and bass players, who sometimes really crankup the volume). It is entirely rational not to fight the natural

Winter 200(i l lu- rimist ijunrk-rlv

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PLAYING FLUTE IN NON-CLASSICAL ENVIRONMENTS

acoustic tendencies of the instrument in the third register.In short, the flute wants to be loud in the third octave—so, let it be loud! (Please note that this is not a license toplay sharp.)

On the other hand, the bottom register of the instrumentposes the opposite problem and inevitably requires a lot ofsupport in order to penetrate. Indeed, it never reallypenetrates well (especially when drummers and bass playersare cranked up—and this is one of those unfortunaterealities that you must often face when performing in non-classical contexts).

Accordingly, every effort should be made to counter-actthe natural acoustic tendency ofthe instrument in the firstregister. In short, the flute wants to be soft in the firstoctave—make it as loud as you can!

The only way to achieve this is to pour tots of air into theinstrument to overcome the fact that the flute is, quitesimply, not a loud instrument.

These acoustical points may appear obvious and perhapseven trivial. However, these fundamental facts are oftenoverlooked or, worse yet, ignored by flutists in non-classicalplaying situations.

What to PracticeIf you are serious about learning to play in non-classicalsituations, begin working on repertoire relevant to them.A good starting point is Charlie Parker transcriptions. Getone of the books in the Charlie Parker Omnibook seriesand corresponding recordings and start to work on thesetranscriptions, treating them as études. Devote close attentionto the phrasing, the articulation, and the time feel. Also,recognize early that a good understanding of bebop willserve your improvisatory goals well regardless of whatnon-classical situations you ultimately perform in.

Also, select some fragments—two to four bars, perhaps—from some of Bird's solos that you really like (typically,these will be II-V-1 phrases) and execute them in all keys.Working these phrases through every key is essential,because there are a lot of alternate scales and modes thatoccur in jazz that require complete fluency in every keyarea. To cite just one example, in the key of C major, oneofthe alternate scales for the dominant chord (i.e., G7) isbased on the A-flat melodic minor scale ascending. If you

are improvising, and you hear that sound, and you want toplay it, then you have to be ready for it—because thatalternate scale is replete with accidentals, and it is obviouslynot derived from the C Ionian mode.

You also must work on technical matter that is pertinent.For example, practicing the 12 major and minor scalesfrom root to root means you are missing the entire realmof all of the other modes that are built on each degree ofthe scale and on which all of the chord structures arcultimately based. At some point, you must become thor-oughly familiar with the feel and the sound of all of themodes as they are constructed on each degree of the scaleand, in addition, the diminished, the whole tone, thepentatonic, the augmented, and thequatral scales (includinga certain, though not an infinite, amount of their associatedpatterns).

Ultimately, you must learn to think in terms of "key areas"and to sense the modes and their arpeggios intuitively ona modal basis rather than on a straight and square rool-to-root basis.

What to Listen ToThe importance of listening cannot be overemphasized.Indeed, listening is every bit as critical and important aspracticing and playing.

One of the reasons that listening is so critical is because,ultimately, you must have internalized the sound that youare seeking to achieve. If you can't hear what it is that youare trying to do internally, then no amount of technicalskill or competence will ever enable you to bring it outexternally.

Listening is not a passive exercise. It requires the samemeasure of focus and attention that practicing or playingdoes. So when you are listening, do not tolerate anydistractions.

It is important to listen to really strong, powerfulmusic. Although one can quibble with any given listeninglist, highly recommended are works by Ray Charles, lohnColtrane, Miles Davis, Clifford Brown and Max Roach,Bill Evans, Aretha Franklin, Joao Gilberto, Billie Holiday,Hank Mobley, Thelonious Monk, Oliver Nelson, C^harlieParker, Oscar Peterson, Horace Silver, Frank Sinatra, andNancy Wilson. (See sidebar for a list of recommendedrecordings.)

With respect to jazz flute, there are lots of players toexplore. One recommendation for this brief article is HubertLaws, specifically his The Law of Jazz and Flute By-Laws

(Atlantic/Rhino). These two albums are an excellent startingpoint of reference for a non-classical flute player and willcontinue to serve as points of reference after years oflistening and playing.

Time: RepriseThis article opened with the matter of time and it closeswith it once again to emphasize the importance of time in

The Flulist Quaiierly Winter 2006

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jazz playing. Although the focus is on technical rather thiinstylistic dimensions (articulation, breathing, vihrato,acoustics) of performing flute in non-classical environ-ments, the treatment of time is ultimately very much at'unclioii of ihc idiom being performed. And. on a matteras complex and diverse as idiom, it is difficult to make anysLimmary observations that will apply in all circumstances.

Perhaps the hest point to stress is that it is crucial todevelop a very steady, reliable sense of the pulse at all tempos,regardless of the idiom. Implicit in this suggestion ispracticing with a metronome. And you must get used toplacing the metronome on beats two and four of the bar(which correspond with the sox cymbal in jazz and theback beat on the snare in rock) rather than on one andihree. This takes getting u.sed to at first; however, it reallymust be done!

Time is the most fuiidnmental "frequency" in music.Time should be given all of the care and attention itdeserves if you really want to achieve both pleasing andconvincing musical results in non-classical settings. *

Bill McBirnie is a jazz flute specialist based in Toronto. He hasstudied with Robert Aitken and Richard Eques. McBirnie isan improviser, notably in bebop, swing, and Latin idioms, asillustrated by his recordings as a sideman with Junior Manee,Irakere, Memo Aeevedo, and Cache. He has also produced twoof his own Extreme flute projects and an acoustic jazz

Hill MdJirnic

recording featuring The Mark Eisenman Trio. McBirnie has

been chosen Flutist ofthe Year by the lazz Report Awards and

a winner in the NFA Jazz Flute Masterclass Competition.

McBirnie can be reached at [email protected].

©2005 Bill McBirnie

Etudes in Jazz: Recommended Recordings for Learning

John ColtraneA 1 ove Supreme (Impulse)( rescent (Impulse)lî.illads (Impulse)

Miles Daviskind of Blue (Columbia/Legacy)1 s.P. (Columbia)Sorcerer (Columbia/Legacy)Miles Smiles (Columbia/Legacy)Nt'fertiti (Columbia/Legacy)

Clifford Brownand Max Roach( litlord Brown & Max Roach(limArcy)Sludy In Brown (EmArcy)

Ray CharlesThe Genius of Ray Charles(Atlantic)

Bill EvansEverybody Digs Bill Evans

(Riverside/OJC)

Aretha Franklin30 Greatest Hits (Atlantic)

Joao GilbertoThe Legendary Joao Gilberto

(World Pacific)

Billie HolidayLady In Satin (Columbia)

Hank MobleySoul Station (Blue Note)

Thetonious MonkMonk's Dream (Columbia)

Oliver NelsonThe Blues and the Abstract Truth(Impulse)

Charlie ParkerNow's The Time (Verve)Bird & Diz (Verve)

Oscar PetersonNighl Train (Verve)

Horace SilverThe Cape Verdean Blues (BlueNote)

Frank SinatraOnly The Lonely (Capitol)

Nancy WilsonNancy Wilson & CannonballAdderley (Capitol)

W i n t e r 2(Klf. ' r h c I l i i lUl U t m r t t r l y

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