Tips for Young Rhythm Sections: Equipment and Set-Up

When working with young rhythm sections, consider first using the correct equipment and managing the physical layout of the players. These two factors can play a pivotal role in the sound of the jazz ensemble.

Instruments and Equipment

For non-rock styles, a hollow-body guitar is preferred to emulate the sounds of the great players of swing, bop, post-bop, and Latin American styles. Solid-body guitars are great for funk and more contemporary styles and can add to the ensemble’s sound when used for the correct style and at an appropriate volume level. While students will favor solid-body guitars, several manufacturers have quality hollow-body guitars at reasonable prices.

An acoustic piano is always preferred unless the arranger states otherwise. Many electronic keyboards can produce appropriate sounds for contemporary tunes and also serve as a portable instrument for performances where an acoustic piano is unavailable.

A traditional upright bass with a pickup is preferred for swing, most Latin-American grooves, and some contemporary styles. There are some wonderful pickups on the market that can easily be attached to the bass (if I can do this, anyone can do it!). Electric bass guitars are great for funk and more contemporary styles and, like solid-body guitars, can enhance the ensemble sound but should not overpower it. Anytime an amplifier is used, the player should be in front of the amp so they can clearly hear their sound.

When it comes to the drums, a smaller kit is preferred over a larger one for most jazz styles. A smaller kit usually consists of a snare drum, a small-to-medium size bass drum with pedal, one or two toms, and a floor tom. Cymbals should include hi-hats, one crash cymbal, one ride cymbal, and others as desired for different timbres (i.e., china or cymbal with rivets). Hand-hammered cymbals generally produce darker tones and can give your ensemble a much more mature sound but require a bit lighter approach from the player.

If there are extra players (especially piano or percussion), utilizing a student on the vibraphone can add a nice timbre to your band. Many of our jazz ensemble charts (as well as those of other publishers) come with optional parts for vibes. Auxiliary parts (congas, bongos, accessories, etc.) often come with published charts and can easily be added if parts are not included. However, these instruments should never overpower the rhythm section and should serve to complement the groove.

Setup

While there are a few different thoughts on the actual physical layout, a traditional setup allows players to use eye contact to communicate and have a sightline with the director. Amps should be a couple of feet behind the guitarist and bassist and should be offset so these players are not directly in front of the speaker. I have found that the below diagram works the best:

While music budgets are always an issue, upgrading an item or two at a time may be best. Over time, these upgrades can truly change the sound quality of your jazz ensemble and communicate to your rhythm section students the importance of using the correct gear. A proper physical setup can lead to better communication and teamwork within the rhythm section, providing a solid foundation for your entire jazz ensemble.