リズム・セクションとして演奏する際の7つのコツ(By Open Studio)

Open Studioの「リズム・セクションとして演奏する際の7つのコツ」を翻訳しました。






I'm Adam Ennis, and I'm Peter Martin, and you're listening to the You'll Hear It podcast, daily jazz advice coming at you, brought to you by Open Studio.

私はアダム・エニス、そして私はピーター・マーティンです。そして、あなたは Open Studio によって提供される You'll Hear It ポッドキャストを聴いています。毎日のジャズアドバイスがあなたに届きます。

Peter, what do we have today?


Well, we have four false starts on this episode, which is very rare for us, not very rare. Other than that, we have a question via Twitter. Now we're on Twitter.

ええと、今回のエピソードでは4つの誤ったスタートがありましたが、それは私たちにとって非常に珍しいことではありません。それ以外にも、Twitter 経由で質問がありました。私たちは今、Twitter にいます。

We are on Twitter. You can hit us at hey Open Studio, Hey open studio. This comes from a listener, John. He says, "I'd be interested in hearing you discuss blending as a rhythm section, specifically how piano, guitar, bass, and drums use their tone to create an acoustic mix without sound reinforcement."

私たちは Twitter にいます。私たちにアクセスするには hey Open Studio、つまり「Hey open studio」とつぶやいてください。これはリスナーのジョンからの質問です。「音響強化なしで音響ミックスを作成するために、ピアノ、ギター、ベース、ドラムがどのように音色を使ってリズムセクションとして調和するかについて議論することが興味深いと思います」と彼は言います。

And so we kind of decided just to turn this into, you know, in general tips for playing in a rhythm section, certainly that without sound reinforcement, we'll try to blend that in. I think that's a big part of, number one, for our seven tips, right?


Yeah, you know when he says blending, I think it's more complicated than just one thing to do to blend, right? It is this whole thing, and it is seven things. It is a complete process. Playing in a good rhythm section is an art, and it takes a lot of this kind of stuff.



So we'll kick it off with number one, and that's our classic number one, and that is, listen. That's gotta listen. Now, this really applies, I mean, they always apply, sometimes we force them in a little bit at number one, yeah, but man, for playing rhythm section, we've both done a lot of this, continue to do this.


I mean, if you're gonna ignore two through seven, just take this and turn off your radio right now. It's the most important part, and it's also everything two through seven here, the rest of the list, it all hinges on you listening.


Yeah, I can't do these where the rest of these things without listening, right? So, this is not like okay listen and then move on to the other ones, it's like take listen and then apply it to everything that we're saying, other things that you learn. And I mean, the great thing about this in terms of listening is like lyses number of ways we apply it - listen to great rhythm sections on records, listen to them live, yep, but listen as you're playing in the rhythm section. If you're the bass player, obviously you're listening to the drums, you listen to yourself, listen the piano, you're listening to the guitar on a continual basis. And when you're not playing, when you're laying out or not, now for pianist so this happens off and that the rhythm section becomes or really is the bass and the drums, yeah, so you're listening to them as a unit, hopefully, yeah.


So there's that listening has so many different shades and gradients to how you're gonna do it, you just have to, you know, first get that mentality. Now there are some ways you can actually practice listening like this. You can sort of practice moving your attention around. The very first one, and this is harder than I think people might think it is, but that's to listen to the sound as a whole, what's happening, you know, not to pick out any specific instrument or any Pacific sound, but really to just try to listen to the group that you're playing with as one big sound, yeah.


and you hearing your role in that can be eye-opening about overplaying under playing dynamics all this stuff can hinge off listening to this big group sound and then I like to practice, you know, especially a jam session or something, listening to individual instruments or even on the gig you know, just picking out like the bass and being like alright for this chorus I'm just gonna check out what the bass is doing. Yeah, and I'm gonna vibe with that and I'm gonna, you know, my playing is gonna be a reaction to the bass or to the drums or sometimes just the snare drum or sometimes just the right cymbal, yeah, or sometimes like you said the bass and the drums together. You know, like practice focusing your attention in these different spots so that when you're on the gig and something interesting is happening you can go to there.


What I love the order you did it in that the first is listening to the collective sound of the rhythm section because I think you know if you think about it in that way and listen in that way then when you go to listening to just the bass and really focusing in for a particular reason you still got kind of in the subconscious or in the background that collective sound because we have to. You know your attention, we never know what's gonna happen so it may need to then go to the drums or to the collective or to yourself but as you focus you're still kind of almost like you're looking out of the corner of your eye always at that collective sound and how we fit into it whatever our instrument is. But it does give you that ability and when you practice this kind of listening it starts to prepare you for that. What do they call that when you can see in like all 360 degrees like a like a IMAX kind of?


Yeah, yes, yeah. But I mean, basically, panorama, panorama. Yeah, it's like, you know, you can't actually focus on anything but at one particular time. You're looking at one mountain in the panorama, but you can feel it all around you. And I think that's the sort of listening in real time you want to work towards, and then hopefully kind of live in that kind of listening as you're playing. That's where the excitement is. It actually makes it really easy when you're listening to that whole surround sound of the music that's going on. It becomes very clear what you should be doing. Yeah, you know you're almost what you're doing is in the peripheral, and it can be great there. Yeah, like, you know, some people are like, "Oh, I can't, you know, while I'm working," and this could be like outside of music or anything. "Well, I'm working, I can't hear anything else." People like that, like, if that's the only way you can play, you're gonna have trouble being a successful rhythm section player. You have to be able to have several conversations at the same time. Yeah, you have to be comfortable with a lot going on and being able to focus on specific things that you know. Pay attention to something even while other things are going on, but you can work on it.


So listen, it is at the top, and it's kind of like listen and then way down the list is everything else. Right, so if you're on limited time today, you can sign off now, you've learned something.



But number two, I think, is important. Let's learn about other instruments, yeah. The other instruments in the rhythm section are part of your sound now as a rhythm section player. So, it really helps to know how the drums work, yeah, what their role is. It helps to know how the bass works, what its range is, what its Tambor is, yeah, where you fit into those things.


If you're a pianist, if you're a drummer, it helps to know where the piano is playing rhythmically, what it's doing, like it has what it takes to play that, what it takes to play it, yeah.


I think that it's dynamic range, you know, that's super important, that you understand the other instruments' dynamic range, you know, their sonic range, all that stuff, yeah. And I think that if you look at ideally every instrument that we ever play with or compose for, we would be able to play at least a little bit.


Totally a scale or a rudiment or something, it's not really realistic to learn every instrument, but as a rhythm section player, I do think that if you want to go top level next level, that you know as a pianist, you should be able to play a basic swing bead with the hi-hat, maybe a little funky, a couple of basic grooves on the drums. You're not to sound great, but take the time to learn that, you know, hire a drummer, just give you a couple of lessons, and then you know, learn on the bass what it takes, you know, to move around, and the guitar, like I think that that's a really valuable thing to be able to play with. You don't have to become even totally functional and just be able to get around a little bit. It gives you the confidence in playing with them when you start to understand what it takes to play that instrument to produce the sound.



Alright, number three dynamics we have to know, but the fact is that if you're listening as we said to the whole yeah, in general for all these instruments you probably don't have to play as loud as you think you might unless it's really called for. You know where you sit in this sound. I think about this as a piano all the time. You hear pianists it's just like banging away on these chords when it's not necessary. Sometimes it's totally appropriate but oftentimes like you can really hang back and it actually again it makes everything a little bit easier for you. Yeah if you know that like most most of it is covered in the audience's imagination yeah you know what I mean, like you don't have to play the thickest chords as loud as you can the whole time, right? Chill out, yep.


Yeah, and then I mean as you understand your start to really appreciate the function of your instrument within the rhythm section and you realize when important things do happen where you're all playing together the dynamics are going to be amplified by multiple people playing them together anyway. So you know we're used to as pianist being the whole rhythm section when we play solo piano or duo or something, and then you do need to be a little maybe more aggressive with how you delineate the dynamics, but when you're part of the rhythm section it's a collective thing. And I think we do want to exaggerate dynamics for the listener because sometimes you can get stuck kind of in that Metzl Forte range too much if you're not careful, but knowing that as part of the rhythm section I mean the main thing is just to play with dynamics because there is gonna be times when you need to play loud there's gonna be times when you need to play soft there's gonna be times when you need to be in the middle somewhere and so you're almost like you're gonna want to exaggerate that those loud places because the music calls for but not just constantly. Here's a tip that took me a little bit too long to learn but I was I remember listening to a Charles Lloyd record with Keith Jarrett mhm and he was playing forceful our maybe fair I think.

そうですね、そしてあなたが自分の楽器の機能をリズムセクション内で理解するようになると、重要なことが起こるとき、すべてが一緒に演奏されることでダイナミクスは複数の人が一緒に演奏することで増幅されることに気づきます。だから私たちは、ソロピアノやデュオなどを演奏するときには、ピアニストがリズムセクション全体であることに慣れています。そのときには、ダイナミクスの区別をより積極的に行う必要があるかもしれませんが、リズムセクションの一部である場合は、集合的なものです。そして、リスナーのためにダイナミクスを誇張することを望んでいると思います。時には、注意を払わないと、Metzl Forte範囲にあまりにも詰まりすぎることがあるためです。しかし、リズムセクションの一員として、ダイナミクスで演奏することが重要であるということを知っているので、必要なときには大きな音を出す必要があるし、必要なときには静かな音を出す必要があり、どこか中間の音を出す必要があるということがわかります。だから、音楽が必要とするときには、大きな音を誇張したいと思うかもしれませんが、常にそうするわけではありません。私が少し時間がかかったヒントをここで紹介しますが、Keith Jarrettと一緒にCharles Lloydのレコードを聞いていたとき、彼は力強く演奏していたことを覚えています。

Yeah, I think he was playing fairly busy in the background. It was so quiet dynamically that it totally worked, and I was like, "the busier I get as an accompanist or as a part of a group, the quieter I'm gonna do it." Oscar Peterson does this great thing on the Louis and Ella stuff. Oh yeah, I mean, he's basically a soul. He plays the whole thing so quietly in such a dynamic way that it's not super annoying. In fact, it's really interesting to your ear.


And then, to just tie in with this with the original question in terms of playing acoustically without sound reinforcement, dynamics like this really become an issue. I heard the other night, the great Lincoln Center Jazz Orchestra with Wynton Marsalis, at a hall right around the corner from here, the great Shelton concert hall, and they played entirely acoustic. Everything sounded awesome. It's not at all, I mean, those instruments are made to play, but part of it was the sensitivity that the rhythm section really set the tone. I mean, the trumpets at times were blasting; it was almost too loud. I was like, "why would you ever need mics on a trumpet?" But then they were able to play soft and stuff too, but the rhythm section always set the tone.


The drummer, who's a young drummer, I don't know well, who I think was actually just subbing this tour, did such a great job of controlling the dynamics and really thinking about the whole. You're talking about going beyond just the rhythm section, but within the rhythm section, they controlled it. The Carlos Enriquez, the bassist, was doing a really good job. I mean, the bassist has the potential to totally get lost in a big band, the piano too. But you could always feel it. He played loud when he needed to, but he wasn't just pulling hard and playing random crap the whole time just to be heard. And what ended up happening, they pulled the rest of the band into their range of dynamics. And then when you needed to hit it, they hit it. When it needed to come down, it came down. It makes the whole experience better. Yeah, it just does. And it's just like, you know, tempos and grooves and all that, that we think about the rhythm section being in control of. Dynamics, we should be thinking about. For some reason, we don't think about that as much, and we should. It's very, very important, especially for drummers.



I think number four is space to use as a rhythm section. Yes, again, you know if the bass player's walking on all four beats and the drummer is playing on all four beats, yeah, the drummer's left hand and the piano player, you don't have to do as much as you think you do all the time. It's not a constant cat battle, it's not a constant thing, you know? You can let the groove happen right, and in fact, like that can be some of the most powerful music. Yes, I'm thinking about like Miles's, you know, like Plug Nickel era stuff where it's just like Tony and Ron are going, there's not much happening, and it just feels amazing.


What a mature thing to do when you're in a rhythm section when things are feeling so good to just not play. I mean, that's such a hard thing to do because you want to jump in there and be part of it, but that goes back to listen. It's like, is it needed what you're gonna play? Because if not, don't play it, yep. And I mean, I know we're talking a lot from pianist and point, and that's usually in guitarists that would usually come to us, but for drummers and bass players at times too, I mean, there's a time when the bass can lay out, and I mean, now that doesn't happen that often, but, but I mean, if that's what's called for, are you willing to commit as a rhythm section player to not play when it's not needed, even if it feels good? As a drummer, are you able to commit to just playing time, yeah, and not over comping? The same thing as a piano player, you know, I think in the context of an hour-long set, an hour and 15 long, hour and 15-minute long set, these things can become very important to the arc of your performance.Yeah, you give it all away on the first tune, or, you know, through the whole thing, everybody's just playing, playing, playing, playing, yeah, it doesn't mean anything now, you know?



All right, okay, number five, I love this because I think you wrote this one, and you said, "Know your role." Yes, right, and it's great 'cause I like the way you spelled it, R-O-L-L, so that kind of in plays, no, no, but this is good, it's, we can take it two ways, know your role as an R-O-L-E, as far as your the pianist, you're the guitarist, you're the drummer, and then, you know, we don't have to go out and do all these things again, but like the drums being able to control the dynamics, just go to the range and those kind of things, I'm good with the spelling, no, but I like "know your role" to like, how do you roll when you play as a rhythm section? Collectively, we can think about it as that as well, because there is the role of the individuals, but more importantly, is the role how the rhythm section rolls, that's right, and listen again, this goes back to listen, to know your role in the rhythm section, listen to a bunch of recordings, you're gonna get it, you're gonna get what your role is, and it's shifting all the time, within the same tune, within the same night, so that's good.



number six is to play as one the goal of playing in a rhythm section is to be cohesive where you're playing the tune together. You're not just out there doing your own thing and being like screw these other people, I'm just gonna do it.


Your one piece and I think it's a challenge. I mean, we have so many great examples, you know. It can seem like a challenge because if you look at say the big man, we're talking about big man obviously. The trumpet is a section, the trumpets, the trombones are a section, but they're all the same instrument, yeah. So for them to be thinking alike and become a section would seem to be easier than the rhythm section where you got these very different instruments. But as we can see from the great examples that we have, it's actually in some ways easier because, well, I mean, our function is a little bit different than those other sections, but it's also the way that we blend is different than a section of violins where everything is the same. So actually to sort of make it a beautiful organic thing, there has to be some differences. We've got that built in, so we have challenges. But there's also like some positive things about having different instruments. But yeah, the goal is to become as one.



So number seven, and this kind of goes back to John's question on Twitter, which is by the way at hey open studio hey, and that is to if you really want to blend, you're gonna have to do some playing. You have to get to know the other people. There has to be trust, and I recommend rehearsing, yes, to work on the blend and talk about it if you want to. I mean, some people don't like to talk about this kind of stuff, but if you need it, you gotta do it. If it's needed, you can talk about your roles and maybe make suggestions of like maybe we're trying to sound like this rhythm, so yeah, or from this record, you know, like let's sound like that. And everybody seems so afraid to say anything, feedback for each other. And I think, you know, for me, the higher the level of players I go to, the more willing. It's amazing. Like, you'd think they'd be less willing to receive feedback, but the more willing they are. But everyone's afraid to do that 'cause like, "Well, I'm not, they're too good" or whatever. And no, because you, we give each other feedback not because we're trying to teach somebody or we're saying we're better, because we care about the music. Like, we care about the rhythm section. Even if we get into an argument about, "No, I think you're wrong," whatever, that's fine. You care. At least it's not like, "I'm just not gonna say anything and let something keep going along." That's actually selfish towards the music. We're all trying to serve the music, and a rhythm section is a special thing that has to support, you know? I mean, if you're not supporting other people, you're a piano trio. Kind of still a rhythm section, it's a different thing. I mean, when you're talking about being the foundation of the group and everything, you have to care, and that means giving feedback. It means rehearsing. It means committing to that collective one. It's awesome.


So, thanks John. We are one. Thank you, John, for the question. You can shout us out at @heyopenstudio on Twitter if you want to ask this question. You could also go to you'llhearit.com and post your question there either as a voicemail or there's a written question. Pick up your t-shirt there, You'll Hear It t-shirt. Anything else, people? Um, no, this evening I'm going to Kenya, Africa. I don't know, think about that. Kenya, yeah, I've never been to Kenya. You been? I've never been. I'm jealous, super excited. But you know what? What continent of Africa, in general, well, until tomorrow.

それでは、ジョンさん、ありがとうございました。私たちは一つです。この質問に答えてくださって、ありがとうございます。もし質問があれば、@heyopenstudioのTwitterでシャウトアウトしていただくか、you'llhearit.comに行って、ボイスメールまたは書き込みの形で質問していただくことができます。You'll Hear ItのTシャツもそこで手に入ります。他に何かありますか?ああ、今晩はアフリカのケニアに行く予定です。ケニア、考えるだけでわくわくしますね。行ったことありますか?私は行ったことがありません。うらやましいですね、すごく興奮しています。


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