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It helps to get an intuitive feel for when 8 bars (measures), 16 bars and 32 bars have passed at given tempo. Most jazz tunes are written in AABA format, where the letter stands for the A and B themes and 8 bars. If you know where you are in the jazz piece by the number of bars that go by, if you lose the thread, you can either vamp or play long tones in ...


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The best way I've found is to have a solid rhythm section that knows what to do. Primarily the drummer. If he plays a swing rhythm, basically on hi-hat/cymbals, that sets the groove. As a bass player will be playing on the beats more than the offbeats, he won't swing until he puts something like ghost notes on the offbeats as well. But not constantly. The ...


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Honestly you should bring in some tennis balls and make a game out of it. I've taught this with eurhythmics before. Basically have people walk to a beat and start bouncing the ball on the 8th note, and then after they do that comfortably have them do the same, only swing it. You can work with whatever rhythms you need in this way and it feels kind of silly ...


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If you're playing straight and switch to playing swing, the 'and's move but the strong beats don't. It might be that the players who are trying to play swung are pushing the strong beats around too, which would be disconcerting to the other players. I'd suggest an exercise where everyone plays the same line (a fragment of a scale for instance) first ...


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The only way I am aware of improving (or practicing) swing feel is to play with a metronome but set it so the click is on the 2 and 4. Emily Remler goes through it in her tutorial videos. I have no idea how this would translate to a group jam though!


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Assuming these are informal jams, you just don't have the authority to fire incompetents. I think the only possibility is to endure the fact that the material will not be played correctly. But do at least point out what "swing" means when they try to "correct" those who are playing it correctly. Is it tactless to teach someone the truth?


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Your question is a good one, but I think you can go about it in a slightly different way and end up with much more meaningful results. If we acontextually (that is, away from the music itself) try to compile a list of various musical traits, it will never be complete and it will never be specific enough. So instead of trying to list musical traits and then ...


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This is a very wide topic, but think about how you would approach recordings of two of your favourite jazz pianists. Do they have some favourite runs or chord sequences that crop up again and again? How do they handle the beat? Tight, or loose? Always ahead of the 3rd beat in a bar? How about volume, and sustain? Do they generally approach runs in a smooth ...


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~The Chorus~ Chorus is awesome! Thanks to its over use in the 1960's, it's sound can make a whole song sound bluesy. The Walrus Audio Julia is the best chorus that I know of and is also the most vintage sounding, which is essential for a chorus to sound bluesy. ~The overdrive~ A light overdrive is all you need for jazz :). Not too much drive to kill the ...


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Listen to as many good bass trombonists as you can. I recommend listening to Martin van den Berg playing Saturday Night. Here's the link:


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It does affect the sound, but by how much is debatable and I doubt anyone could reliably discern between a trumpet with or without this kind of bracing in a blind listening test. The main thing it does is affect the way the instrument resonates. When you play a brass instrument, you set up a vibration in the air stream inside the tubing. Some of this ...


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When it comes down to it, every decision regarding the construction of an instrument will have some effect on the instrument's own distinctive timbre. With that said, there will probably always be some point of diminishing returns where these changes in the design don't make any noticeable difference. Notice that above I said "distinctive timbre," and not ...



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