The Tied Eighth Note & "Getting Off"

In jazz, an eighth note tied to the end of a longer note is interpreted differently than it would be in "legit", or classical, playing. This figure is often encountered in ballads but is sometimes seen in straight-ahead charts as well.

Figure 1 shows an example of two measures that might appear in a slow ballad. The second measure contains a rhythmic pattern that is often misinterpreted. In this case, there is an eighth note on beat 3 tied to the preceding half note. Ask any classical musician what the duration of this figure is and he will probably answer, "two and a half beats." While that is correct for classical music, it is incorrect in a jazz context! In jazz, this note sounds for exactly two beats: the tied eighth note is an indication to stop the note on beat three.

Figure 1

As a verbal direction, we say "off on three" and may notate the reminder in our chart (in pencil!) with "-3" as shown in figure 2. Some published charts may print this performance direction as a courtesy.

Figure 2

Similar situations may also appear in straight-ahead swing charts. Also, the "off on ..." notation (e.g. -4) may appear on notes that are not tied to an eighth, typically at the end of a song, an example of which is shown in figure 3.

Figure 3

These conventions are not arbitrary. A composor or arranger uses these notations when he wants an immediate and definite stop to the sound on a specific beat. For example, it may be that the band is crescendo-ing to a climax with a dramatic cut to a delicate solo line - to be effective, the climax can not "hold over" else it "step on" the solo. The collective agreement on where, exactly, to stop a note makes for a "tight" performance. In the case of figure 3, it is often the case, especially in older big band music, that the final beat will be a bass/drum "bump".

Sight-Reading: The Wrap-up

DYNAMICS AND LISTENING (WHO HAS THE LEAD?):
One element of music that is often overlooked (at least the first or second reading) is dynamics. It is easy to see (or hear) how playing the wrong notes or rhythms can quickly lead to chaos but blaring away at an inappropriate volume can just as quickly destroy the music. Many novice sight-readers concentrate so fully on attempting to get the right notes and rhythms they do not even realize how loud they are playing. The extreme volume may be an attempt to hear one’s self above the din of the rest of the band but this egocentric strategy simply does not work. The result is like trying to paint the Mona Lisa with a twelve-inch roller.

When sight-reading in the context of an ensemble (of any size), the dynamics are just as important as the notes and rhythms. Play at or below the written dynamic level. If you do not have the lead (the melody, or tune), play softer.

While you are no doubt focusing intently on playing the written notes and rhythms, it is just as important to listen to how your part fits in with the whole. Listen for the lead and play beneath it. Even if you have the lead, chances are good that you are not playing it alone – the mere fact that multiple voices are playing the lead together lends to its volume and therefore eliminates the need to exaggerate your own volume. Careful listening may also reveal that you are playing a unison passage that is not the lead, in which case you should play with even less volume.

Chances are also good that if you are reading a second, third, or forth part and you are not playing the lead. Take your dynamic cues from your section leader (e.g. first alto, first trumpet, etc.). The written dynamic level is only a guide indicating the general volume. Different circumstances, such as the phrasing of a line, dictate subtle (and sometimes not so subtle) fluctuations in volume. Again, listen to and follow the lead.

LISTEN TO JAZZ
Earlier, I compared the reading of music to the reading of letters and words. In learning to read, an implicit knowledge of the language is critical. It would be impossible for a child raised in an English-speaking family to learn to read French – the words and sounds would be completely unfamiliar and incomprehensible. Likewise, to become a competent reader of any particular genre of music, you must be familiar with its “language”. The best way to become familiar with the language of jazz is to listen to a lot of jazz. Immerse yourself in the sound. Learn the many “dialects” of the language by listening to different styles (from traditional “Dixieland” to the “Big Band” music of the 1930’s and ‘40’s to more contemporary Latin jazz, funk, and fusion).

LEARN LOTS OF TUNES
The more tunes you know, the fewer surprises you will encounter when confronted with a new piece of music. Phrases from well-known tunes are often “quoted” in other tunes and arrangements. The “Real Book” and other fake books are excellent sources for the melody lines of jazz standards.

Sight Reading: Don't Stop

When sight-reading, force yourself to keep going. It is more important to “keep your place” than to play a perfect phrase. When reading by yourself, use a metronome or a drum track (e.g. Band-in-a Box) to help you stay on track. Take your initial reading at a slower tempo than indicated. Look through the music you are about to read and set the tempo at a pace that will give you half a chance at playing the most difficult passage without stumbling.