I'm Turnaplexed

jhatpro · Posted: Sat Mar 15, 2003 4:04 am Post subject:

Regarding turnarounds for blowing in small group sessions, when one player finishes a chorus is there an extra two or four bars for the next player before the solo starts, or does the previous player drop out early?

Thanks for any insight you can offer.

Jim
_________________
Jim Hatfield

"The notes are there - find them.” Mingus

2021 Martinus Geelan Custom
2005 Bach 180-72R
1965 Getzen Eterna Severinsen
1946 Conn Victor
1998 Scodwell flugel
1986 Bach 181 cornet
1954 Conn 80A cornet
2002 Getzen bugle

Arranger-Transcriber · Posted: Sat Mar 15, 2003 10:27 pm Post subject:

Another common occurrence is for the soloist to end at the beginning of the next chorus. The next soloist, assuming he knows he's next, waits for the audience's applause for the just-completed soloist, then begins somewhere around bar 3 or bar 5. Of course the rhythm section plays through.

jhatpro · Posted: Mon Mar 17, 2003 8:42 am Post subject:

Hey, A-T,

Welcome to TH, and thanks for the insight. Now if we can just play well enough to generate some applause...

Jim
_________________
Jim Hatfield

"The notes are there - find them.” Mingus

2021 Martinus Geelan Custom
2005 Bach 180-72R
1965 Getzen Eterna Severinsen
1946 Conn Victor
1998 Scodwell flugel
1986 Bach 181 cornet
1954 Conn 80A cornet
2002 Getzen bugle

musiclifeline · Posted: Mon Mar 17, 2003 9:23 am Post subject:

try playing along with some small group recordings (with the changes written in front of you if necessary). you'll note that for the most part, the band goes directly from the end of one chorus to the beginning of the next, and at the end of a solo, the soloist will either leave off a bar or so early, or as is more often the case, continue right to the first one or two beats of the next chorus. assuming it's a studio recording, the next soloist will either pick up right where the previous one left off, sometimes continuing a motive (listen to Clifford Brown followed by Sonny Rollins on Pent-Up House) from the end of the previous solo.
Notable exceptions include the Coltrane Quartet (with McCoy Tyner et. al) -- they sometimes add a vamp section to the end of a form, usually between choruses. Also, forms themselves may vary. Most standards and bop tunes don't do this much, but there are tunes out there that have a section to be played between solos (but not every chorus), like the interlude section of A Night In Tunisia, which is often used (via cues) between soloists.

jhatpro · Posted: Mon Mar 17, 2003 5:53 pm Post subject:

Thanks for the tips, MLL. As it happens, Night in Tunisia is one of the tunes we're doing for an upcoming performance. Also Mexican Hip Dance, Bye-Ya, and Ornithology -- all great blowing tunes for sure.

Jim
_________________
Jim Hatfield

"The notes are there - find them.” Mingus

2021 Martinus Geelan Custom
2005 Bach 180-72R
1965 Getzen Eterna Severinsen
1946 Conn Victor
1998 Scodwell flugel
1986 Bach 181 cornet
1954 Conn 80A cornet
2002 Getzen bugle

dwm1129 · Posted: Tue Mar 18, 2003 1:10 pm Post subject:

Alot of times what happens in my quintet is our solos overlap...we don't do many standards but our songs have a form and sometimes both me and the sax player will start out together and it seems like who ever has the best idea going takes the first solo ha ha....it all falls into place, leave two bars out as a break, come in five bars late into the form, it will all sound good....just don't plan it out let the music happen.