Destined to be Dynamic!

Jazz is and must be, above all else, dynamic.

Have you ever heard one that isn't? BLECH, right? Or when it's half-way done? Yuck!

You get this mash between elevator music and a grade school band. It's enough to make one tone-deaf! (or at least wish they were)

Well, perhaps I am being a bit harsh. But it's important to have some effect, some razzle-dazzle in a piece. Otherwise you may as well watch paint peel. (oooo - aaaahh)

Today, I was in Chapter 12 of Jazz Composition and Arranging in the Digital Age, where we look at dynamics, articulation and brass mutes. Now, I'm not going to get into all the articulations, because I've already covered where you can read about them in a past posting called, What does - > ^ • mean, anyway? Let me articulate that for ya.

But here's what I learned:

1. Brass instruments will sound louder than woodwinds, so give brass a "mf" and the sax players "f" when you want the to sound the same. 
2. Jazz players seem to have more issue with the duration of quarter notes than eighth notes as far as dynamics go. 
3. At times, jazz musicians disagree about how certain dynamics should be played, for example: >  may be argued to be played the same as just a >, though they are different articulations. 
4. Mutes can change the pitch of instruments when in the upper and lower registers, however there is a safe range to stay in and experienced players can compensate. 
5. Brass players need ample time to insert and take out mutes - 4 to 8 measures is good. Be sure to put a warning a few measures earlier of "to mute" and specify which mute, to allow them ample time before putting in the device. Then when playing simply specify the mute. 
6. Another way to dampen the sound of brass players without them using a mute is to have them play into the stand. 

Some of this may seem awfully simplistic and silly to write about, and truthfully, it is kind of a "duh, of course!" moment for me. However, it is really easy to forget some of this stuff in the throws of creative passions. 

I certainly know how it feels to just want that song to be played without regard for crossing t's and dotting i's. It's alive and it must be heard! My soul is on fire until the world can hear this masterpiece of my design. My creation! Darn the torpedoes! Full steam ahead! And then, CRASH AND BURN! AH THE HUMANITY!!! What a World, what a world... (Enter Celine Dion Singing My Heart Will Go On...)

Alright, so my favorite thing about this chapter has got to be all of the online listening through the book's website. Lots of examples. I would give you the website, but you have to buy the book to listen. But, there's always youtube and don't forget the blog post that I presented earlier in this post.

Have fun out there! Troubleshooting isn't all bad, it may save your piece.

And A-way we go!