Quote: “I'm playing the bass in a big band, I would like to know how you work the tunes.”
With respect, I think its helpful to stand back a little and try to appreciate the bigger picture.
Traditional Big Bands featuring brilliantly scored notation by scintillating musical arrangers, will often require exacting, carefully written parts, are followed prto the letter.
Some Big Bands performing modern music feature a core rhythm section. That being fundamental to the musical drive and feel of modern musical styles. So, I think you should determine what “style” of Big Band you are in?
Musical Directors usually give rhythm section musicians in the latter case, a great deal more latitude in determining precisely what they play, as long as it supplies the necessary impact, style and the ideal rhythmic feel that the rest of the Big Band lay their parts on top of.
In the former case, with a traditional Big Band performing familiar “standards”, hopefully with excellent parts that fit together superbly providing immense musical impact, but in a completely different style, its essential to be able to read and have the notation down pat and delivered musically exactly as written.
Of course, its entirely possible that in a versatile Big Band both types of music and their concomitant arrangements do indeed come into play. So, then its necessary to approach each individual piece of music in the style that the arrangement requires.
Typically, the main programs musical arrangers use churn out individual parts from the full score.
It might be worth asking if as well as your own part, you could have an extra copy of the guitarists chord chart which would involve very little effort on the part of the Band Leader, but would give in both cases a precise guide for you to easily determine where the music is going harmonically in both cases. It would clear up any seeming anomalies that you were questioning quite easily.
My personal approach as a Musical Director is always at first to score a basic arrangement (Vocal, Piano, Bass, Drums, Guitar Chords) which is in reality an over view of the “idea of the song and its presentation”.
This will provide tempo, dynamics, musical style and emotional feel information along with written notes detailing any special musical interventions or features.
But essentially, it’s the basic idea of the song, its musical arrangement and presentation.
How I think about composing, is that the most important element it the actual “idea” of the song or music.
What is the concept? What is it really about? What is its driving force? What is the emotion to be movingly communicated to the audience?
If the composer has a very clear idea of these matters, then I think of that concept as being the top of a mountain. Every other detail of choice, in music, lyrics, musical orchestration and style; streams outwardly in an entirely clear and logical way once you have properly grasped the “mountain top vision”.
So, a basic Vocal, Piano, Bass, Drums, Guitar Chord arrangement is very helpful in clarifying the songs overall “vision”.
It makes preparing a full score which often features 32 staves much easier, making many complexly detailed aspects of when various instruments and different sections need to come in straightforward.
That doesn’t mean a rhythm section will be required throughout an entire song, such parts could be liked to a dummy guide vocal track on a recording which will later be replaced completely by more complex orchestration.
However, for most music that is the musicians daily fare, a basic “rhythm section” score can usually provide what is mostly required.
If excellent musicians are involved usually their superb range of musical chops provide more than most arrangers could write for.
The musicians actively enjoy the headroom of creative musical freedom they are provided and reward the project accordingly.
So, I hope this is all something helpful for you to think about and maybe to diplomatically and intelligently discuss with your Band Leader.
Fostering good working relationships is important and mutually beneficial to all parties, if they are open to improving.
But as long a you have a copy of the guitar chart for reference, you should be able to find a good working solution for any problem areas that might arise.
I have found that musicians strongly moan to me about other musical arrangers and orchestrators. What they seem to appreciate is that I work very hard indeed to make their job as easy as possible.
Everything is clear and straightforward for them and so they can do the best they are capable of, which is really what they want to do. Its just about providing the right framework for them to perform at their best.
I studied Bass with Carol Kaye and have a lot of Basses so that I can write for the Bass and talk to Bass Players understanding the instrument from their perspective. To me this is fundamental to being a good Musical Director and Arranger. I take a similar approach to every instrument of the orchestra.
Good Luck!
