Big band seating is not arbitrary. Instrumentation, aesthetics, ensemble size, stage dimensions, and—most importantly—musical priorities have shaped a range of stage configurations since the big band’s emergence in the 1920s.
Rather than cataloging unconventional layouts (such as Stan Kenton’s inverted “V” or Thad Jones’ separation of bari sax and bass trombone), this article focuses on the reasoning behind the widely accepted traditional block formation. When implemented thoughtfully, this configuration maximizes lines of vision, listening, blend, balance, and ensemble cohesion—all prerequisites for strong jazz performance.
Guiding Principles
In a jazz ensemble, lead players carry responsibility beyond volume or range. They shape articulation, style, time feel, and phrasing for their entire section. For that reason, lead alto saxophone, lead trombone, and lead trumpet should be seated in the middle of their respective sections, in clear visual alignment with one another.
Unlike concert band seating, lead players should never be placed on the end of a section. For trumpet and trombone sections, the most common configuration—viewed from the director’s perspective—is:
2 – 1 – 3 – 4
Saxophone section seating differs slightly. Optimal blend, balance, and clarity are typically achieved with the following arrangement:
Tenor 1 • Alto 2 • Alto 1 • Tenor 2 • Bari
The rhythm section should be set up as a cohesive unit, positioned to the left of the wind instruments from the director’s perspective.
In the diagram above, a short riser is used, with trumpet players standing and trombone players seated. One player per stand is essential. Use low, flat stands positioned directly in front of each player. While trombonists sometimes prefer angled stands placed to the side, this isolates them from the section and compromises blend.
This configuration also allows a narrow pathway between the winds and rhythm section, enabling soloists to step forward when the music permits—reinforcing the conversational nature of jazz performance.
Two core principles are achieved here:
- Lead players are centered within their sections.
- Primary soloist chairs (Tenor 1, Trombone 2, Trumpet 2) are positioned closest to the rhythm section, creating a combo-like listening environment during solos.
If a chart assigns a solo to the 4th trumpet, an alternate configuration such as 4–3–1–2 can be used, keeping the lead centered while bringing the soloist closer to the rhythm section. Some directors prefer keeping all lowest voices to the far right; correspondingly, baritone saxophone and bass trombone are typically placed on the right side of the band, opposite the string bass. While alternative groupings are possible, this layout generally produces greater overall sonic depth.
The Rhythm Section
The rhythm section should be arranged to allow clear visual and musical communication among its members. Bassist and drummer must be able to see each other’s hands and faces easily, facilitating synchronized time feel and groove.
Whether the bassist stands near the hi-hat or the ride cymbal is a matter of preference. Some players feel closer proximity to the hi-hat strengthens time feel; others point to pairings such as Ron Carter and Tony Williams, where the bassist stood near the ride cymbal. In some setups, the bassist is positioned between the piano and drums, functioning as the rhythmic and harmonic “glue” of the section.
Guitarists are most often seated near Tenor Sax 1. Clear sight lines between guitarist and pianist are essential for non-verbal cues related to harmony, rhythm, and form.
In small stages or rehearsal rooms, placing the rhythm section on the right side of the band is acceptable. However, never divide the rhythm section across both sides of the ensemble. Their ability to lock in depends on proximity, listening, and shared visual awareness.
Common Questions from Directors
Once the conventional setup is understood, variations inevitably arise due to ensemble size or instrumentation. Below are some common questions I encounter:
Q: I’d like to carry five trumpets. Where should the fifth trumpet sit, and what part should they double?
A: Several solutions work. One option is a 3–2–1–4–5 configuration, with the fifth trumpet doubling the 4th part. Never double the lead part. Another approach, commonly used at UNT, is 5–3–1–2–4. This places inner voices near the lead for better balance and tuning, and supports octave writing often found in trumpet sections.
Q: I have a very large band, with two players on most chairs. How should I set up?
A: Bigger is not always better. If possible, form a second ensemble. Never double rhythm section parts. Two pianists should not share a bench; if there are multiple bassists or guitarists, rotate or unplug one. Clear roles matter. Ensemble clarity suffers when the stage becomes overcrowded.
Q: Where should amplifiers be placed?
A: Guitar and bass amplifiers should always be placed behind the player so they can hear and adjust their sound accurately.
Q: I have motivated students playing non-standard jazz instruments. Where should they sit?
A: Use musical judgment guided by the principles above. Place students where they can best blend and contribute meaningfully. If transposition is required, provide proper parts—do not leave this to the student. Use color instruments selectively and intentionally, not as section substitutes.
The goal of this article is not to enforce rigidity, but to equip directors with practical principles that support musical unity. Thoughtful setup enhances listening, balance, and ensemble awareness—and provides a strong foundation for everything that follows.
Feel free to send additional questions via e-mail.