c o n le n ls Introduction
"
3
Explanation of Terrns
4
Practice Tips
5
Eighth-Note Triplets
8
Eighth Notes
10
Quarter-Note Triplets in 4/4
14
Dotted Quarter Notes in 3/4
19
Dotted Quarter Notes in 4/4
.2 3
Core Grooves
········
25
Displacing the Harrnonic Rhythm
27
Chord Progressions
.32
Suggested Listening
.35
About the Authors
.36
2
c o n le n ls Introduction
"
3
Explanation of Terrns
4
Practice Tips
5
Eighth-Note Triplets
8
Eighth Notes
10
Quarter-Note Triplets in 4/4
14
Dotted Quarter Notes in 3/4
19
Dotted Quarter Notes in 4/4
.2 3
Core Grooves
········
25
Displacing the Harrnonic Rhythm
27
Chord Progressions
.32
Suggested Listening
.35
About the Authors
.36
2
in lr o d u C lio n Intro o to Poly Polyrhy rhythm thms: s: Con Contra tracti cting ng and Expand Expanding ing Tim Timee wit within hin Fo Form rm Welcome to Volume I of our Intr
So you are curious about polyrhythms polyrhythms,, abo about ut the lang languag uagee and vocab vocabula ulary ry of metr metric ic mod modula ulation tion and super super-imposi imp ositio tion? n? May Maybe be you only ha have a vague idea what these concepts concepts mean an andd wo woul uldd li like ke to know know mo more re.. Or you' yo u've ve alway alwayss wa want nted ed to incor incorpo pora rate te mo more re rh rhyt ythm hmic ic fr free eedo dom m in into to yo your ur pl play ayin ingg bu butt ar aree no nott qu quite ite su sure re ho how w to develop this ski kill. ll. Ma Mayb ybee yo youu re rece cent ntly ly fo foun undd yo your urse self lf in a music musicaal situ ituati ation on in which you felt rhy rhythm thmical icallly unprepared. unpre pared. Whatever Whatever your reasons reasons are, you've you've come to the right place. place. We will attempt attempt to demystify demystify the subject subject andd pr an pres esen entt yo youu wi with th a codif codified ied ap appr proa oach ch to learn learnin ingg th thee vo voca cabu bula lary ry an andd la lang ngua uage ge of metr metric ic mo modu dula lati tion on an andd superimposition. This language This language is no nothi thing ng new new.. Polyrhyt Polyrhythms hms suc suchh as three three aga agains instt two and four against against thr three ee have have bee beenn par partt of the Afr Africa icann mu music sic tra tradit dition ion for many many cen centur turies ies,, and polyr polyrhyt hythms hms hav havee alw always ays bee beenn an inte integra grall par partt of the the jazz jazz tradition. The Miles Miles Dav Davis is Qui Quinte ntett of the 196 1960's 0's was one of the first jazz jazz ens ensemb emble le s to explo explore re and develop develop a langu language age bassed on this ba this voc vocabu abular lary. y. The result result was an amazin amazingg fre freedo edom m within form. form. In the last decade or two, the use of of metric me tric mod modula ulation tion in jaz jazzz has increa increased sed exp expone onenti ntially ally:: Pol Polyrh yrhyth ythmic mic voc vocabu abular laryy has beco beco me very very sop sophis histic ticate atedd, andit is rare rare to hear hear a jaz jazzz ens ensemb emble le per perfor form m ori origin ginal al mus music ic tha thatt doe doess not employ employ it in one one way or another. Itha hass become bec ome so corn cornmo monn tha thatt the ability ability to under understa stand nd and apply apply tim timee shi shifts fts and modul modulati ations ons has in fact fact bec becom omee a fundam fun dament ental al ski skill, ll, a skill skill tha thatt in our opinion opinion eve every ry ser seriou iouss jaz jazzz mus musici ician an sho should uld acq acquir uiree to sorne sorne degree degree. We hav havee fou found nd tha thatt the there re are very very few educatio educational nal mat materi erial al s availab available le tha thatt add addres resss the subject subject as a whole whole, andthosse who do are almos andtho almost exc1usi exc1usively geared towards drurn drurnmers mers.. The mat materi erial al on this this DVD add addres resses ses all instr instrum ument entali alists sts and prese presents nts a comp compreh rehens ensive ive app approa roach ch to unde underrstandiing and apply stand applying ing the langua language ge of poly polyrhy rhythm thms, s, met metric ric mo modul dulati ation on and superi superimpo mposit sition ion wit within hin a jaz jazzz con con-text. The text and notatio notational nal examp examples les shoul shouldd be referred referred to ifneces necessary sary only after listening listening to and trying trying to absorb absorb themu the music sical al example exampless by ear. The idea is that these these mus musica icall exa exampl mples es sho should uld be learne learnedd pri primar marily ily aur aurally ally,, in an organicway. This process will aid you in making musical decisions that are dictated by emotion and not by mathematics. ematic s.
Ari and Johannes
3
le rm s Here is a quick explanation of sorne of the terms we are using:
Metric Modulation In technical terms, metric modulation signifies changing the tempo of a piece so that the new tempo has so kind of mathematical relation to the original tempo. This is achieved by making a note value from the f irst tem equivalent to a note value in the second. For example if you take a half note in your original tempo and ma that half note equal to the quarter note in the new tempo you end up with a modulation to halftime.
Superimposed Metric ModuIation On this DVD we are applying all the modulations over a form, in which the original harrnonic structurea time feel stay intact. Therefore we are actually superimposing one time feel or pulse over another. Polyrhyth are a good example of this. The superimposed or layered pulse or what we call core rhythm and core groo create the illusion of the tempo momentarily shifting when in fact it is noto So, technically speaking, most of t examples on this DVD are superimposed metric modulations, but for the sake of simplicity we will stick wi the term "metric modulation".
Core Rhythms Subdivisions such as eighth notes, triplets and sixteenth notes can be grouped to form what we call a c o r rhythm. For instance, a dotted quarter note is a core rhythm; it is based on the subdivision of eighth notes i groupings of three. There are three basic core rhythms that we explore in Volume 1: dotted quarter-notes, eight note triplets and quarter-note triplets. Core rhythms are the basic building blocks for what we call core g roove
Core Grooves Core grooves are a more musical application of core rhythms. To create a core groove, first we take a c or rhythm and play it in groupings oftwo, three, four or five etc ... Examples of core grooves inelude a basic swin samba or bossa that is superimposed over a different time feel.
Forms There are a few reasons why we think it is more beneficial to apply these exercises over a form rather th just over a particular pulse. First of all, one of the purposes of superimposing one groove or time feel over anot er is to create tension. Rhythmic superimposition creates two sets of pulses competing for your attention a n therefore two sets of competing musical expectations. A form - any cyelical set of bars, with or without harmon movement - provides an opportunity to raise the intensity of your expectations for resolution. Without a fon over which to apply the new groove, you won't achieve the same amount of tension nor the effect of any subs quent release. Second of all, in order for musicians to cornmunicate with one another, we must have some k in of a framework or road map as a basis of cornmunication. A form can be that framework. Finally, your music facility is already based on the ability to navigate chord progressions and forms, and the ultimate purpose oftb exercises in this book is for you to be able to use in a musical way. The forms that we are playing over are twelve-bar blues in 4/4, a twelve-bar blues in 3/4, rhythm changes and a 32-bar AABA form.
Rhythmic Displacements A rhythmic displacement is any rhythm or musical phrase that begins on a different part of the beat th an it original starting point. This DVD covers rhythmic displacement extensively as well as polyrhythms and metr modulation.
4
Draclice lips General Practice Tips
Before you start playing any of these exercises on your instrument you should be able to elap, speak or sing them [ust. This helps you isolate the exercises and elirninates factors that could interfere, such as note choices or other technical aspects of your instrument etc. There are many different ways to practice these exercises. Keep in mind that no matter what core rhythm or groove you are displacing or superimposing, the original time (eighth note, quarter note or half note) has to stay your reference point. At the begining you might find it necessary to maintain an extemal reference point for the original time such as a metronome, a recording that you play along with or a fellow musician who is willing to keep time for you. As you get more cornfortable, your dependance on an extemal time keeper will diminish and you will be able to rely more and more on your intemal metronome. Here are sorne suggestions for practicing the exercises away from your instrument: 1. CIap the core rhythm while keeping the metronome on all four beats of every bar. 2.
Clap the core rhythm while keeping the metronome on beats two and four of every bar.
3.
CIap the core rhythm while keeping the metronome on beat one of every bar.
4. Replace
the metronome with tapping your foot and repeat the aboye exercises.
5. Sing
or speak the core rhythm while elapping all four beats of every bar.
6. Sing
or speak the core rhythm while elapping on beats two and four of every bar.
7. Sing or speak the core rhythm while elapping on beat one of every bar. 8. When
you're walking, think of your steps as half notes or quarter notes. While doing this, elap your hands orsing the core rhythm. For 3/4 time adjust the aboye exercises accordingly.
5
p rac tice tip s lo r d rum m ers While learning the examples in this book, it is helpful to keep the quarter-note pulse with either the hi-hat or bass drum. This is good for coordination as well as rhythmic understanding. Be creative. Improvise within the core rhythm. Try playing the quarter-note pulse with two limbs while playing the core rhythm with the other two limbs. Try altemating these pattems between each pair of limbs. Then try playing the quarter note with one limb while the other three limbs play the core rhythm. Drum
cymbal
Key
hi-hat
hi-hat with foot
bass drum
snare
p ractice tip s lo r bass plav ers We found that there is a tendency to play shorter notes when they are anticipated or delayed, particularly when it comes to the core rhythm of waIking bass. In order to create the illusion of the time shifting temporarily, it is important that you play the full note values. As a bass player, you must not only superimpose a core rhythm over a form - which is challenging enoughbut at the same time you must displace the harrnonic rhythm. Expressing the harrnonic structure of a piece when the bass notes don't fall on beats one or three is not easy. If you find that you are having trouble with this seeif the following suggestions help: First, play the core rhythm or groove against a metronomic pulse making sure that you are completely secure with that. Then add the form but stay on one pitch and don't worry about expressing the harrnony yet. Checkto make sure you are hearing the form in your head. Finally add the harrnonies. Ifyou are unsure about where the chords fall in the new harrnonic rhythm, write out a few choruses and consult the examples later in the book.
6
p ra c tic e tip s lo r p ia n is ts All of the exercises and ideas presented in this book can be applied to comping as well as to soloing. Many pianists have limited independence of the right and left hand, and it is not uncornmon that the left hand will follow the right hand or vice versa. Rere are sorne suggestions on how to develop more independence while working with the core rhythms in this book.
Preliminary exercises Pick a chord and voicing that are you are cornfortable with (either left hand or two-handed voicing) and stick with it. 1. Play the core rhythm while keeping the metronome on all four beats of every bar. 2. Play the core rhythm while keeping the metronome on beats two and four of every bar. 3. Play the core rhythm while keeping the metronome on beat one of every bar. 4. Replace the metronome by tapping your foot and repeat the aboye exercises. Ifyou
are cornfortable with this, repeat the exercises while playing them over a form. Adding the element of form can get pretty challenging, particularly if the core rhythm goes over the bar-line and therefore changes the harmonic rhythm. Choose a chord progression that you are really cornfortable and familiar with. The less you have to worry about finding the right notes or chords the better. You can find sorne suggestions on how to approach the subject in the chapter about harrnonic rhythm.
Left and right-hand independence using the core rhythms. Pick a chord and a left-hand voicing that you are cornfortable with, and a scale in the right hand that fits with thatchord. 1.With your left hand, comp on all four beats of the bar and play the core rhythm with your right hand using notesof the scale. 2. With your left hand, comp on beats two and four of the bar and play the core rhythm with your right hand usingnotes of the scale. 3. With' your left hand, comp on beats one and three of the bar and play the core rhythm with your right hand usingnotes of the scale. 4. With your left hand, pick a standard comping rhythm and play the core rhythm with your right hand. Reverse the exercises. 1.With your left hand, comp using the core rhythm and with your right hand play half notes using notes of thescale. 2. With your left hand, comp using the core rhythm and with your right hand play quarter notes using notes ofthe scale. 3. With your left hand, comp using the core rhythm and with your right hand play eighth notes using notes ofthe scale. Next repeat the exercises but play them over a form. Again, choose something that you are really cornfortableand familiar with. The more advanced you get the more you can experiment with making up your own exercises.Try to play the melody of a tune in your right hand while comping core rhythms in your left. You could combinetwo core rhythms, for example: solo using the core rhythm of quarter-note triplets in your right hand, an d comp on every second triplet in your left. The possibilities are endless. 1
eighlh-nole IriplelS This chapter deals with the core rhythm of eighth-note triplets.1t is essential in all triplet-based music, such as swing, that you are able to feel equally cornfortable on all three parts of the triplet. Ifyou don't have this foundation set, all subsequent metric modulations based on triplets are going to be shaky and insecure, so make sure you really have these exercises down before you move on. The form we are using for the exercises in this chapter is a 12-bar blues in the key of F. Watch Chapter 1 on the DVD to see how eighth-note triplet modulations can be applied in a musical way. DVD Chapter 3: First
Triplet
Core Rhythm
, ' , t' , t' , t' , r - 3-----,
r - 3-----,
r - 3-----,
r - 3-----,
I
etc
A quick note: the first triplet is obviously the downbeat of every quarter-note, and while this might seem deceptively simple, it is not. Just playing quarter notes while keeping good time and swinging hard is more difficult then you think, and should be the foundation for any more complicated and advanced pattems. Core Groove A: 4/4
'>(
'>(
Swing '>(
'>(
Basic Walking Core Groove
F7
B~7
19: e J
J
J
DVD Chapter 4: Third
[ij
J
r
Triplet
Core Rhythm ,---
3----,
q,
.b
r - 3-----,
,---
3----,
r - 3--,
r ' .b r ' .b r '
.b I
8
etc
¡ 'F . q ~
etc.
DVD Chapter 5: Starting
on the third triplet
Core Groove A: Swing
.----
3 --,
.---
DVD Chapter 6: Second
3 ----,
.---
3 ----,
,---
3 -----,
.---
3 ----,
triplet
Core Rhythm ,---
t K f
3 -----,
,---
3 -----,
r
J),
J) ,
DVD Chapter 7: Starting
r
,---
3 -----,
r ~
J) ,
etc
on the second triplet
Core Groove A: Swing
.~ :p '~ ? : p ,: ? : : ~ r o -3 ----,
.----
3 ----,
L -
3 -----'
.---
3 ----,
~ r -
.----
3 ----,
'--
3 ------'
B~
3 ---,
3 ---.
r -
3 ---,
r--- 3 ---,
.-- 3 ---,
.-- 3 --,
~ " e ''í " '_ ? 5 _: ~__~
--
DVD Chapter 8: Aaron
,
etc. .....- 3-- -'
L -- 3-- -- 1
demonstrates on the piano how to solo using second and third triplets.
9
eighlh nOles This chapter deals with the core rhythm of an eighth note. Again, you want to feel equally cornfortable o all eighth notes in a bar. This is the prerequisite to more complicated metric modulations. The form we are using in this chapter is rhythm changes in the key of B flat. Watch Chapter 9 on the DVD and see the trio apply the material in this chapter over "Rhythm Changes
Core Rbytbms First eighth note on One and Three.
DVD Chapter 11:
Second eighth note on the and of One and Three.
DVD Chapter 13:
Third eighth note on Two and Four
DVD Chapter 15:
Fourth eighth note on the and of Two and Four.
10
Youcan also think of these exercises as a grouping of four eighth notes that is being displaced by an eighth note.
Core Groove B: Half- Time Swing Feel 3
I
1
~:~
p
J
~
-¡
C-7
G-7
m6
J
~
J
I~
F7
D-7
J
?lI
F7
C-7
r
I
J
-¡
P
G7
fr
J
~
~
j
~
3
I
I
r
~
I etc.
DVD Chapter 12: Core Groove B displaced by one eighth starting on the second eighth note. Eighth notes are swung.
¡
~:¡ &
G-7
m6
3
3
t ~ J
~
I
&
~
D-7
F7
C-7
; , J
t
:~ F7
C-7
G7
t
DVD Chapter 14: Core Groove B displaced by a quarter note starting on the third eighth note. ,3----,
~:
'
J
J
i
,3----,
' I
-
r
J
J
i
r
:~
Asa harmonic instrument you have the option of either anticipating or delaying the harrnonic rhythm. Both work: justbe aware that anticipating the harrnonic rhythm will create a sense of forward motion.
11
For bass, delaying the harrnonic rhythm looks like the following example: m6
19: e
l
G-7
C-7
zga= = =µ
d
D-7
F7
G7
C-7
------
j
~
~
" "
F7
@t
I etc.
Whereas anticipating looks like the following example: m6
19: e
-
l
G-7
~~
C-7
F7
~
D-7
G7
C-7
F7
~Ja
~
~
etc.
DVD Chapter 16: Core Groove B displaced by three eighths starting on the fourth eighth note.
[;J i 3
~ I:S
[;J i , 3
,
I¡ ' ~
-
~
:~ etc.
m6
I:)= e
G-7
C-7
F7
,lijij. ~.
'--'"
'--'"
D-7
.
.
G7
~
~.
C-7
m · ~r
F7
~ $
DVD Chapters 17,18 and 19: Aaron demonstrates on the piano how to apply the second, third and fourth eighth note displacement to soloing over "Rhythm Changes".
DVD Chapters 20, 21 and 22: Rere the trio demonstrates the musical application of the second, third and fourth eighth note displacement over "Rhythm Changes".
12
Below is an example of a simple funk groove displaced in the same manner. Core Groove C: Funk
r f r
~
~
f
f
r
:~
F7
[9:c~
1
r
1
:~
~
Displaced by one eighth note starting on the second eighth note.
F7
Displaced by a quarter note starting on the third eighth note.
~ 'r ! 'f g 'r r f : ~ F7
~
SsS
'ª=W
Displaced by three eighth notes starting on the fourth eighth note.
13
:~
guarler-nOle Iriplels in 4/4 This chapter deals with the core rhythm of a quarter-note triplet. If you are not completely cornfortable with playing quarter-note triplets, go back to eighth-note triplets and make sure you are cornfortable with those first. Eighth-note triplets are the building blocks for quarter-note triplets. The form we are using for this chapter is a 4/4 blues in F. Watch Chapter 23 on the DVD and see the trio apply the material in this chapter over a blues.
Core Rhythm 3
m s f r
r
~
~
3
I
I
r
~
r
r
~
~
µ
etc.
Take a basic eighth-note triplet pattem and accent every other note. The pattem repeats after six eighth-note triplets or two quarter notes. DVD Chapter 25: Quarter-note triplet starting on beat One. In 4/4 time, the pattem repeats after one bar.
Core Rhythm . 3 ,
~
3
3
3
3
Bb7
F7
etc.
DVD Chapter 26: Quarter-note triplet starting on the second eighth-note triplet (you can also think of it a s starting on beat Two or beat Four).
Core Rhythm I
3
I
3
I
I
~
:1 1 3
3
3
3
14
As a bass player you have the choice to either anticipate or delay the harrnonic rhythm. Anticipating chords - in this case playing the chord change on the and of beat Four as opposed to on the second eighth-note triplet of beat One - gives the bass line a nice forward motion. F7
/9 :
-
e
'" '
L -
,..--3~
etc. 3 -----'
DVD Chapter 27: Quarter-note
~
3. , t - 3 .-J
triplets grouped in twos.
Core Rhythm 3
¡
¡
3
3
¡
3
3
I
3
Core Groove A: Swing
i j ' J i fJ~
3
¡
I
3
~:
;
~ -,
I
3
3
I
3
J
'-----
¡
I
3
3------'
F7 3
ro
3
L
DVD Chapter 28:
Quarter-note triplets grouped in threes.
CoreRhythm
3
I
I
3
I
I
~ 3
3
3
3
15
~
3---.J
Core Groove D: 3/4
Swing
I
3
'
,
3
'
3
J
W Il '~
3
3
3
3
~
DVD Chapter 29: Quarter-note
1
~
~
J
etc.
triplets grouped in fours.
Core Rhythm I
3
I
I
3
I
I
3
I
I
3
I
Core Groove F: Bossa
F7
,3,
3---, r -
¡ 3r -
'f
DVD Chapter 30: Rere
quarter-note triplets in groupings of two.
CoreRhythm I
3
I
I
3~
:~ 3
~
the trio demonstrates musical applications of quarter-note triplets over a blues.
DVD Chapter 31: Displaced
....-.
'f
3
3
3
16
etc.
Core Groove C: Funk
F7
F7
m7 , 3 -,
IfJ
,- - 3 --,
* * ~ ª*
'í ~ L 3 - .J
DVD Chapter
*
'í 'í ~ L- 3 --.:..J
~
* #=1*
, 3 ---,
'í 'í ~
*
" '
32: Displaced quarter-note triplets in groupings of three.
CoreRhythm
3
DVD Chapter
3
3
3
33: Displaced quarter-note triplets in groupings of three.
Core Groove D: 3/4 Swing
3
!
,
3
,
___
3
3
F7 ,3 ,
1 = J : e '1
~
j
etc.
also:Displaced quarter-note triplets in groupings of three. Core Groove E: Slow Blues in 3/4 ')(
1"
'"
'"
')(
')(
1"
1"
'" D
')(
x
1 "-
1"
11
'>(
1"
1 "-
1"
D
..
I etc.
19 : e
,3 ,
r
3
't
1
J
J
DVD Chapter 34: Displaced
~
l
J
1
..
3 -----, ,3 --,
1
§
I
3
I
1
~
etc.
L -3 ~
quarter-note triplets in groupings of four.
Core Rhythm
3
Core Groove A:
3
3
3
3
3
3
3
Swing
L . .- 3 ------l
DVD Chapter 35: Rere
í
f
:~
the trio demonstrates musical applications of displaced quarter-note triplets over a blues.
18
d O R e d q U a rle r n O les in 3/4 This chapter deals with the core rhythm of dotted quarter notes in 3/4. Dotted quarter notes are eighth notes grouped in threes. The form we are using for this chapter is a 24-bar C minor blues in 3/4. Watch Chapter 36 on the DVD and see the trio apply the material in this chapter over the tune "Pawprints". DVD Chapter 38: Dotted quarter notes starting on beat One.
CoreRhythm
r r
~o
~o
L
r
':0
r
L
~o
r
r
:~
DVD Chapter 40: Dotted quarter notes starting on the 'and' of beat One.
CoreRhythm
L
r
DVD Chapter 42: Dotted quarter notes starting on beat Two.
CoreRhythm
M f
r
~o
r L
P#
DVD Chapter 39: Dotted quarter notes grouped in twos.
CoreGroove A: Swing
C-7
19:!~·
F-7
§t. ~
19
r
~o
r r
t~~
DVD Chapter 41: Dotted quarter notes grouped in twos starting on the 'and' of One. Core Groove A: Swing
Note: The harrnonic rhythm can either be delayed by an eighth note;
F=t- ~F-7
C-7
tfJ:I'~-~
_
t
1 etc.
or can be anticipated by a quarter note. C-7
1 9 :1 ~ .
F-7
etc.
DVD Chapter 43: Dotted quarter notes grouped in twos starting on beat Two. Core Groove A: Swing
Again the harrnonic rhythm can either be delayed by a quarter note
C-7
F-7
or it can be anticipated by and eighth note.
20
F-7
C-7
DVD Chapter 44: Dotted quarter notes grouped in threes. Core Rhythm
Note: Accent every third dotted quarter note.
DVD Chapter 45: Dotted quarter notes grouped in threes. Core Groove D: 3/4 Swing
~
l.II t '
m :1
; .. c·, J.
I ~.
9 '.
~ ~ .'
F-7
r-
¡'~
~ ..
C-7 ~ '
P I f '.
f.
~r ~
C-7
Jc=j
J.
r-
~.
21
~.'
C-7
r·
~.
etc,
r
etc.
~.
DVD Chapter 46: Dotted
quarter notes grouped in threes starting on the 'and' of One.
CoreRhythm ,
DVD Chapter 47: Dotted Core Groove D: 3/4
quarter notes grouped in threes starting on the 'and' of One.
Swing
etc.
F-7
C-7
&
t7 : i' J .
?
F
~.
> .
~~WJ r
J
>-
f# = a .
r
I~r
~
F=
Ifd'
DVD Chapter 48: The
trio demonstrates dotted quarters starting on One.
DVD Chapter 49: The
trio demonstrates dotted quarters starting on the 'and' of One.
22
.
r=
C-7
C-7
C-7
~.
J
~.
etc.
F
d o ned qu a rler-noles in 4/4 This chapter deals with the core rhythm of dotted quarter notes in 4/4. There are two dotted q~arter notes for everythree quarter notes and in 4/4 the pattem repeats after three bars. The form we are using for this chapter is a typical 32 bar AABA form. Watch Chapter 50 on the DVD and see the trio apply the material in this chapter overthe tune "Take the G Train" . DVD Chapter 52: Dotted quarter notes in 4/4
CoreRhythm
.
DVD Chapter 53: Dotted quarter notes grouped in twos.
Core Groove A: Swing etc.
Cmaj7
[ : 1 : e J
F·
~.
D7 etc.
D7hl
J.
~.
r-
D VD Chapter 54: Dotted quarter notes grouped in threes.
CoreRhythm
Note:Accent every third dotted quarter-note. This rhythm repeats after nine bars.
23
~.
J.
~
DVD Chapter 55: Dotted quarter notes grouped in threes. Core Groove D: Swing in 3/4
etc.
Note: Pattem repeats after 9 bars. CMaj7
19:e
J
D7Ul
r·
J
~
~ .
D-7
~.
G7
r
J.
~ CMaj7
~.
~ . D-7
~
m r r·
r·
~.
r?Tijgf·
J.
~
G7
etc.
~ r·
4§
The following are sorne more examples of core grooves of dotted quarter notes grouped in fours. Core Groove C: Funk etc.
etc.
Dotted quarter notes grouped in fours starting on the 'and' of One. etc.
~
etc. ~
DVD Chapter 56: Trio demonstrates dotted quarter notes in 4/4 time. 24
e o re g ro o v e s Here is a listing of the core grooves we are using on the DVD Core Groove A: 4/4
Swing
~ ~'F ~~~ 3
Core Groove B:
1
~
3
Core Groove C:
Ralftime Swing
1,
f
1 3
4/4 Funk
Core Groove D: 3/4
~
3
Swing
~ 'F - f 3
:~
F7
or
25
F7
Core Groove E: 3/4
Slow Blues
F7
Core Groove F: Bossa
F7
26
d is p la c in g Ihe h a rm o n ic rh V lhm Sorne of the previous exercises involve displacing the harrnonic rhythm. When you apply é } . core rhythm such as a dotted quarter note to a harrnonic structure, the harrnonic rhythm will be displaced and chords will no longer fa ll only on beat One or beats One and Three. Sometimes there will not be enough beats in the new time to express all the chords, and sometimes there will be too many beats and you will have to repeat chords. You have to try to fit the new rhythm over the existing harrnonic structure/form and make it sound musical. Often times y o u are faced with having to either anticipate or delay the harrnony; both work. Anticipating the harrnony will givethe tune a feeling of forward motion, whereas delaying it will give it a feeling of stretching the time. Here is an example of a dotted quarter harrnonic rhythm over an F blues in 4/4. The chord changes that do no t faHon beat One or Three are anticipated.
F7
~ .
B~
r
F7
~.
J .
(
(
F7/C
(
~
(
W ·
(
W·
(
C7
$
( (
~
BO
~ .
F7
(
~.
~
D7
( ( D7
r
W·
A-7
A-7
(
B~
~.
G-7
(
G7
~
C7
( ~.
(
:~
This is what a bass line for the aboye example could look like.
F7
B~7
J.
~ .
F7
W=r'
J.
~~ . BO
r
~ '
r
~ .
r
b e -
~.
F7/C
C7
r
F7
tIr
t Ao
A-7
be-
F
~ .
21
B~7
A-7
~l D7
b --
r
~.
§
D7
r·
~.
G7
-m r·
G-7
C7
J.
--
~
C7
r·
:~
Rere is another way of playing the harrnonic rhythm. Sorne of the chords are now delayed.
F7
F7
B~
( ~.
~.
(
~.
µ(
(
r
~
BO
B~
F7
A-7
(
D7
( t1$= (.
(
~
C7
G7
(
G-7
D7
(ttij4.
(
F=
( A-7
W·
(
(
W·
(
(
W·
(
F7/C
C7
~
~.
pr
( (
:~
This is what a bass line could look like for the aboye example.
F7
J.
~.
~.
fi·
§t
r·
~.
r·
BO
B~
,.
F7
B~
~
r·
~j.
~.
r A-7
F·
~~.
~. D7
r·
Notice that the basic rhythmic pattem repeats after three bars.
28
J§j
J. A-7
~.
C7
""'
re ·
F7/C
j.
r·
F7
D7
G-7
-----
r·
G7
~.
~
C7
J
:~
Here is a dotted quarter core rhythm over the chord changes to "Take the G Train", a typical 32 bar, AABA f o rm o
Take the G Traio
o
Cmap
Cmap
G7
09
D-7
( r
J 1 ? ijE { .
~/7
~. 29
~.
(
W·
(
G7
( ~.
Cmaj7
(
Fmap
W·
W·
Cmaj7
~
F· Fmaj7
(2 1
(
D7
Fmap
( ~.
(
~
G7
rt7 l# = r (
Fd? Cmaj7
(
W·
29
M(
(
D7hl
(1 ?J# = ?
M(
G7
(
~
(
(
M(
Cmaj7
G7
( ~.
Cmaj7
(
D7
~.
D-7
rt7 l# = r
J.
(
D7
( ~.
2/
Cmap
r
Fmaj7
ij:f.
025
(
G7
/3
A-7
D-7
W·
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D7
W·
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W·
(
Cmap
~.
W·
Cmaj7
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D7~1l
( ~.
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f
J.
A-7
(
r= .
D7~1l
D-7
W·
( (21
D-7
( ~.
(
FJ
Rere is a bass line for the same dotted quarter core rhythm.
Take the G Train
o
~.
Cmaj7
r.
~.
IJ~ ,
~.
G7
r o
~ D-7
.
tr·
A-7
~ .
r
D7~1l
D-7
O C ·
[ @
G7
D-7
I~r
r
Cmaj7
r-
~
D7
r·
~ .
~~
G7
Cmaj7
D7
Cmaj7
r·
,.
D7~1l
Cmaj7
~
Cmaj7
~ .
r Cmaj7
Fmaj7
D7
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o Cmaj7
G7
G7
D7
r
-
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D7~1l
Cmaj7
J.
J. ~ G7
Cmaj7
~.
30
A-7
J.
D-7
D7~11
D-7
~ .
~.
J.
~
G7
[
49
Chapter 34 f rom the section on quarter-note triplets. The Core Rhythm is a displaced quarter-note triplet in
groupingsof four and the form is a blues. F7
m7
iJ§ ', 3
-
~
J§ = jl
m7
3
~
J§ = jl
-
F7/C
L 3 - . J
, - - 3 - - - ,
J§ = jl
'1'~
A-nS
--D7
, 3 - - ,
tR
I
L - 3 . - : . J
C7
-
~
, , rg r
~I
G-7
I
Bdim
, 3 - - ,
-
, 3 ,
r -
L 3 - . J
§ W ! @
F7
-
~I
,
I
'1~
L - 3 . - : . J
iJ§
r ' ,
A-7 , 3 ,
I
G-7
-
~
C7
,@ : ? 3
r ,-
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:1 1
I
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B elo w is the same example but with Core Groove C: Funk. F7
m7
I 9
I
~
F7
I ~
L 3 - . J
, - - 3 - - - ,
''1
I
~
L - 3 - - - . : . . . J
B7
I
~ F7
Bdim
"~
~I A-7~S
, 3 ,
'"
D7
, 3 ,
~I
,
'1~
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L - 3 - - - . : . . . J
G7
~
C7
I L 3 - . J
I
al
I
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I
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31
I
mI
3 - . J
C7 , - - 3 - - - ,
, - - 3 - - - ,
~
't'l~ L - 3 - - - . : . . . J
F7
"
"~
, 3 ,
cho rd progressio ns Bines in F
l'
B Ir7
F7
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t I
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t
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t
D-7
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A-7
t I
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e-ll
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t
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1
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Take the G Train
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e
1
Cm,i' ~
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Cmaj7
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33
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D-7
Cmaj7
D-7
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Rhythm Changes
l'
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F-7
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G-7
C-7
F7
,~ ,~ , "
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B~6
Il 2
E~6
B!r¡
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;
1
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C-7
, ;
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34
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F7
: ~ I
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,~ , , " " B~6
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G7
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F7
, , "
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C-7
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D-7
F7
C-7
G-7
112c~
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F7
C7
C7
IZ
,
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1
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D7
, ~~
1 1
~ , , "
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G7
1~-7
~ , ,, , ," , " , " I~ " , " I ,
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C-7
G7
D-7
,
;
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;
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suggesled lislening Are you looking for musical examples of metric modulation? Virtually every recording of the second great Miles Davis quintet between 1963 and 1968 contains exampIesof metric modulation. Rere are just a few suggestions: Miles Davis:
Miles Srniles
Miles Davis:
My Funny Valentine
Miles Davis:
Nefertiti
Miles Davis:
Four and More
Miles Davis:
The Sorcerer
Since then, metric modulation has become an integral part ofthe jazz vocabulary. You can find it on a majority of the recordings released since 1990. Rere are sorne examples:
Wynton Marsalis:
Standard Time Vol. I
Wynton Marsalis:
Live at Blues Alley
Kenny Wemer:
Form and Fantasy
Kenny Wemer:
Peace
Kenny Wemer:
Beat Degeneration
Ari Roenig:
The Painter
Ari Roenig:
Inversations
John O'Gallagher:
Axiom
Jochen Rueckert:
Introducing Jochen Rueckert
Ari Roenig:
Bert's Playground
35
