link to article re Guitar in a Jazz band
The term, ‘Big Band’ does not refer to a particular style of music – as big bands can encompass many different styles as evidenced by the history of big bands. But it does refer to a format; and one that has its own requirements from the instruments. This includes guitar too.
Let’s go back to the start: The big bands were a consequence of the growing popularlity of Jazz (Swing) as a musical style to dance to; which itself was built off the back of early Jazz – think New Orleans! Big bands were hired to perform the music at social dances in big halls; and for that reason – before any PA technology was around to reinforce the sound of a smaller band – the bands grew in size: to amplify the sound. And the more musicians playing together, the more the music needed to be arranged carefully.
Pre-swing, the rhythm section would include a tenor banjo in preference to guitar as it was a louder and able to compete with the horns. By the 30’s, Tenor Banjos were being replaced by archtop guitars. Remember that this is pre-electric guitars and pre-amplification. Archtop guitars were designed to fit in well with the big bands – with a mid range boost and a short sustain which was good for punchy rhythm playing. Indeed, that was the guitarist’s role: to support the rhythm section: keeping time by playing four to the bar with a distinctive feel that chimed with the walking bass line and ride cymbal or hi-hat.
As the guitarist’s role was mainly rhythmical and not harmonic or melodic, it came to be known as ‘rhythm guitar’ – a term that is still used to this day to represent the art of playing support. In view of this requirement, the guitarist in a swing band (big band that plays swing) would reduce his chords to just a few notes – typically three – sometimes known as shells; consisting of the 3rd and 7th of the chord and perhaps one other note. Extensions and tensions were not included by and large as this was part of the piano’s role. However, one requirement of Swing Guitar in a big band a la 30s/40’s style is to continually move around the neck playing different voicings and inversions as it greatly enhances the sense of movement. So this is what Big Band Swing guitarists in the traditional mode must do.
Indeed, the template for this is Freddy Green – the guitarist with the Count Basie Band; so we should study Freddy Green to see how it was done.
