Sets and Time Management
I got an e-mail on this today, and it wasn't the first time, so I thought I'd post the answer publicly...
The person was frustrated that every time they lay out the set either it goes WAY OVER or there are too few tunes... and wanted advice how to get around the problem.
As I alluded to in (past articles), it doesn't hurt to have a set pattern. This *may* include - -
1. Having a tune that you always open with (almost a theme.)
2. Having some tunes that you usually use to close.
3. Having a "chaser"...
You might also have some "trademark" tunes that you play on every gig... I wouldn't suggest playing the same tunes every set, but there's nothing wrong with having a couple of tunes that are *you* and people expect to hear in the course of the gig. If you're lucky, you'll develop a regular following and fans will know to request them.
Definition: A chaser
A chaser is a tune, often a blues or a rhythm change, but can be anything that you launch into and often use to make announcements... or it can simply be a closing theme. Sometimes you'll just play the melody and cut out of it... but if you need to fill time, a some solos won't hurt.
In addition to your opening and closing, you might want to have some "stock arrangements" that you frequently play and have timed out. Keep in mind that part of time management involves controlling the length of solos...
1. If the tune is going to short you can make a spinning gesture with your finger... this means, "Keep it going..."
2. If its time to go home, you point to your head...
If a tune looks like its going on too long, be aware that musicians often like to trade fours... POINT TO YOUR HEAD before this happens...!!! Also, know how to signal to the drummer... a good rhythm section should be able to give a really long winded musician hints. If you have a mic, you can even say the soloists name (like you're trying to get an applause for him) then point to the next soloists. Incidentally, not everyone has to solo on every tune - - if its a jam session, sometimes you'll have to keep the solos short, or limit the number of solos.
Regarding soloists who don't get hints: Talk to them between sets about eye contact, remind them of your responsibility to manage the sets, and set the rules... You don't have to be confrontational... just tell the soloist the order of solos and the length of solos... You're the leader, its your job to manage.
Another point, record your sets and get an idea what tunes look like time wise... and have rules about default solo length. For example, you might say, "4 choruses" on a blues, or 2 choruses on an AABA tune (*It depends on the style of your group and what's going on in the solos... for example, if someone is really hot and blowing and the audience is getting into it, you should definitely spin your finger !) With experience, get used to tune length, then use the hand gestures to manage the material.
Regarding arrangements: If your band does have a lot of hot/idea fused soloists and they're connecting with the audience, long solos might be appropriate... but in most cases, short and punchy arrangements are best... In other words, if you have the audiences attention, there's no need to hurry to get home, but if the audience is just politely listening, but not getting carried away, you don't want to outplay their attention span.
All in all, once you have basic "arrangement patterns" and have an idea of their average length, you can do the math when you work out a set... I actually blew one drummers mind by being able to plan out two almost *exact* 50 minute sets in a row without even looking at the clock. The drummer, Ben Dixon, in contrast (of Blue Note fame) was so seasoned that on my session he was able to predict the exact length of tunes based on the tempo and arrangements (!)
The last question I get asked is: How long is best for a tune? It depends... Radio play is 4-6 minutes. Live 6-7 minutes is enough, but there are exceptions to all rules... for example, something quick and punchy... as well as a stretched out Jam... Be sensitive to the audience... if its working, milk it, if its not working, try to get out as soon as possible... and you might want to alternate long and short arrangements.
All in all, set planning is a skill you develop with playing experience... Record your sets, analyze the length of tunes and levels of energy, and eventually you'll be able to come up with your own formula or approach. - - You'll know you're really good when you can actually calculate the set length based on the tunes you choose, or choose tunes based on the set list and intuitively be able to finish up going over no more than a few minutes (or falling a minute or two short.)
Eddie Landsberg (2010)
The person was frustrated that every time they lay out the set either it goes WAY OVER or there are too few tunes... and wanted advice how to get around the problem.
As I alluded to in (past articles), it doesn't hurt to have a set pattern. This *may* include - -
1. Having a tune that you always open with (almost a theme.)
2. Having some tunes that you usually use to close.
3. Having a "chaser"...
You might also have some "trademark" tunes that you play on every gig... I wouldn't suggest playing the same tunes every set, but there's nothing wrong with having a couple of tunes that are *you* and people expect to hear in the course of the gig. If you're lucky, you'll develop a regular following and fans will know to request them.
Definition: A chaser
A chaser is a tune, often a blues or a rhythm change, but can be anything that you launch into and often use to make announcements... or it can simply be a closing theme. Sometimes you'll just play the melody and cut out of it... but if you need to fill time, a some solos won't hurt.
In addition to your opening and closing, you might want to have some "stock arrangements" that you frequently play and have timed out. Keep in mind that part of time management involves controlling the length of solos...
1. If the tune is going to short you can make a spinning gesture with your finger... this means, "Keep it going..."
2. If its time to go home, you point to your head...
If a tune looks like its going on too long, be aware that musicians often like to trade fours... POINT TO YOUR HEAD before this happens...!!! Also, know how to signal to the drummer... a good rhythm section should be able to give a really long winded musician hints. If you have a mic, you can even say the soloists name (like you're trying to get an applause for him) then point to the next soloists. Incidentally, not everyone has to solo on every tune - - if its a jam session, sometimes you'll have to keep the solos short, or limit the number of solos.
Regarding soloists who don't get hints: Talk to them between sets about eye contact, remind them of your responsibility to manage the sets, and set the rules... You don't have to be confrontational... just tell the soloist the order of solos and the length of solos... You're the leader, its your job to manage.
Another point, record your sets and get an idea what tunes look like time wise... and have rules about default solo length. For example, you might say, "4 choruses" on a blues, or 2 choruses on an AABA tune (*It depends on the style of your group and what's going on in the solos... for example, if someone is really hot and blowing and the audience is getting into it, you should definitely spin your finger !) With experience, get used to tune length, then use the hand gestures to manage the material.
Regarding arrangements: If your band does have a lot of hot/idea fused soloists and they're connecting with the audience, long solos might be appropriate... but in most cases, short and punchy arrangements are best... In other words, if you have the audiences attention, there's no need to hurry to get home, but if the audience is just politely listening, but not getting carried away, you don't want to outplay their attention span.
All in all, once you have basic "arrangement patterns" and have an idea of their average length, you can do the math when you work out a set... I actually blew one drummers mind by being able to plan out two almost *exact* 50 minute sets in a row without even looking at the clock. The drummer, Ben Dixon, in contrast (of Blue Note fame) was so seasoned that on my session he was able to predict the exact length of tunes based on the tempo and arrangements (!)
The last question I get asked is: How long is best for a tune? It depends... Radio play is 4-6 minutes. Live 6-7 minutes is enough, but there are exceptions to all rules... for example, something quick and punchy... as well as a stretched out Jam... Be sensitive to the audience... if its working, milk it, if its not working, try to get out as soon as possible... and you might want to alternate long and short arrangements.
All in all, set planning is a skill you develop with playing experience... Record your sets, analyze the length of tunes and levels of energy, and eventually you'll be able to come up with your own formula or approach. - - You'll know you're really good when you can actually calculate the set length based on the tunes you choose, or choose tunes based on the set list and intuitively be able to finish up going over no more than a few minutes (or falling a minute or two short.)
Eddie Landsberg (2010)
Eddie Landsberg, Jazz piano, organ and keyboards, multi-instrumental Jazz improv coach | Manhattan | Queens | Brooklyn
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