WOODWINDS Dr . Daniel Schnee is an ethnomusicologist and multi-instrumentalist who has performed worldwide with
over 20 different JUNO and Grammy Award-winning musicians . He has also been internationally recognized as a graphic score composer , and is a former student of both Ornette Coleman and legendary Japanese
GUTAI artist Shozo Shimamoto .
By Dan Schnee
The Art of the Set
Being a professional musician these days is a challenge , especially if you are a woodwind specialist . We study and practice the finest details of theory , composition , improvisation , and so on , but there is little discussion , especially amongst young players , of the art of creating an interesting series of songs – a set . Thus , strategically choosing songs and their sequence for a performance can make a major difference in your career , both artistically and economically . To illustrate how , I will discuss music written or arranged for a jazz quartet consisting of trumpet , saxophone , bass , and drums .
Benefits of a Great Set There are many benefits of a well-planned set – especially how it can help deliver a decent performance when you are jet lagged , dehydrated , coming down with a cold , hungry , and / or whatever else happens when you tour and perform . An organized set is also very useful when there are last-minute personnel changes and you have little to no time to rehearse before a performance . A well-built set also leaves room for flexibility and spontaneity if you decide , for example , to alter it mid-performance to fit the mood of the room . The most important aspect of a well-planned set , though , is that you have a target performance in mind – a standard to which you aspire . Hitting this significant target requires the intense focus typical of a traditional Japanese archer , or legendary violinist Nicolo Paganini when he wrote difficult pieces to be played on a single string . So let ’ s look at a few key points that will help you build a great set .
Building a Great Set A very effective way to begin a set is with an opening solo number . It may be freely improvised , but I have found that having a pre-planned , original solo arrangement of a standard song is most useful as a whet
– an effective way to engage with the audience immediately . And though many saxophonists will use an excellent ballad like John Coltrane ’ s “ Naima ,” choosing songs such as Ornette Coleman ’ s “ Lonely Woman ” or Dave Brubeck ’ s “ Three to Get Ready ” instead is more surprising and entertaining for jazz audiences while also being fun textural challenges for the soloist . With proper planning and preparation then , the solo intro will engage both you and the audience right from the start .
Having too many mid-tempo songs in a set is a mistake many young saxophonists make . Not being able to play artistically at faster tempos , they tend to stick to a comfortable , medium speed overall , with little variation in form and tempo . So when choosing songs , it is particularly effective to strategize towards your stylistic rather than technical strengths , until they are equal . This is where you may compensate by showcasing original arrangements of up-tempo songs , as is often the case with John Coltrane ’ s “ Giant Steps ” or the classic standard " Cherokee ." Thelonious Monk ’ s “ Well You Needn ’ t ” is also useful as a stylistic vehicle as its bridge section is difficult at high speeds – for saxophonists especially . Altering both harmonic and metronomic speed thus provides both artistic and technical solutions to up-tempo songs .
Another pitfall in set building is arranging a standard 4 / 4 song in other time signatures like 3 / 4 or 5 / 4 . Although in theory it is a good idea , young saxophonists almost invariably just try and fit the melody into another time signature verbatim without exploring any of the myriad possibilities of form and texture . The key to arrangement then is to find creative ways to maintain the essence of the original while featuring it in an unexpected context . So rather than re-arranging an entire song into 5 / 4 , for example , simply alter a single bar of the melody into 5 / 4 , which creates a surprising
“ hiccup ” effect in the song , before returning to the standard time signature and chords for improvisation . You can also play the song in its original time signature and then arrange the solo section to be in 5 / 4 , before returning back to the original form . Both methods provide an opportunity to create fresh arrangements without overcomplicating the music and the overall set .
As I am using a piano-less quartet as an example , the lack of a chording instrument can be either an advantage or weakness , depending on the quality of the set . Though a piano might add more musical colours and possibilities , the space created in a piano-less quartet is an opportunity to demand more of yourself and the ensemble texturally . Thus , including a traditional song or original arrangement of a song that does not require chordal accompaniment gives you the opportunity to explore more textural and improvisational elements , which are then played equally amongst the entire quartet in a contrapuntal rather than harmonic approach .
An example of this would be arranging songs that use various ostinato patterns , such as traditional African balafon songs , or your own compositions based on South Indian drumming patterns arranged into complementary parts for the entire group . Using this method is not only enjoyable for the audience but also prevents you from staying rooted in your comfort zone . And when you add space to these arrangements to create freer forms of improvisation , you create moments of chance and uncertainty , which simultaneously makes great art possible and keeps the set from being over organized and predictable .
Ultimately , strategic set building helps bridge the gap between our goals and abilities while creating a memorable experience for your audience . So make sure you enjoy the process and good luck !
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