Programing Substance for Competitions and Festivals
Programming is one of the most important tools you have as a music teacher. I believe you have the most impact on your students and your audience with the selections you choose for your groups. Of course it’s important to have a varied program of selections with different tempos, keys, moods, feels, etc., but I would argue the most important factor is substance. When I say substance, I mean music that is apart of this rich history and this musical tradition. Are you giving your students an opportunity to experience the music that jazz has built its foundation on? In the big band tradition of the swing era and beyond there is so much music that is available and accessible now, especially to a high school level group. This was not the case 20 years ago. Musicians my age or older will have not played an actual Duke Ellington chart in high school. Thankfully Jazz at Lincoln Center has almost single handedly changed that across the globe, by starting the Essentially Ellington Festival, which gives several charts out each year for free!
When I decided to pick my program for my first state competition 10 years ago, I was torn on what kind of selections to showcase the band with. I was familiar with these festivals from my own high school experience. All the winning bands had this formula of a technical piece with lots of notes for the saxes and at some point a difficult soli with the rhythm section dropping out for more flare. There would be a ballad that eventually went into a rock ballad or double time, maybe a latin piece that had screaming trumpets or a loud trombone soli. These flashy pieces did not have the substance I spoke about earlier and seemed like they were written specifically to meet a set of competition standards. I instead decided to go with some Duke Ellington, Benny Carter, and Tito Puente. Of course I wanted my band to do well it’s first time out, but I decided to go against the trend and settled to go down swinging, pun intended. This was my first time going to the state festival and my program was just starting out, in fact this was my second year and the first time I had full instrumentation for a big band. We qualified for the state competition that first year and even placed third overall. Hearing the other bands, I thought no way we would place because I didn’t really have strong players, especially with the brass, and every band had way more chops than us. But we did place because we could swing and our music came from a much deeper place than what I heard from the other technical groups. So the next year our band was eager to go back and the program became stronger and more dedicated. My third year on the job we placed first at states and have continued to come in first for 9 years running. Now I’m not saying play Ellington and Basie and you will start winning at festivals. I am saying program substance and get your groups to swing and solo in the language of the music because you are directing a JAZZ band.
As far as festivals and competitions, it’s never about winning a music competition for me or my students. It’s always about the process of pushing ourselves to play to the best of our abilities, while representing what’s beautiful about this music- swing, the blues, soloing with a deep respect for the language, and the excitement that comes when it’s done at a high level. My students know that and understand that we are also leading by example, and I think it’s working. I’m happy to see more bands in NJ dealing with Ellington, Basie, Mingus, Thad Jones, Mary Lou Williams, Benny Carter, Fletcher Henderson, and many more. I think we have played a part in that with hosting our own festival promoting the music of Ellington and by sharing all of our teaching concepts through band exchanges, artist in residence programs, teacher visits, and the summer workshop. To all my director friends out there, keep dealing with the real deal!
Please visit eJazz Lines for a great selection of jazz big band and combo charts. Brothers Rob and Doug DuBoff are the founders of this publication company and are dedicated to bringing great charts to all level of big bands and combos.
– Julius Tolentino, March 10, 2019