Kurt Rosenwinkel Scale Accent Exercises

m78w · #1 09-01-2011, 07:12 AM

Hey Everyone,
I was checking out a Kurt workshop video online a while back and he mentioned this very cool scale accent exercise he likes to do, which he did with a Clave. So I took it and expanded it a bit, and living in Brazil added a Samba beat to the accents and put it in an article.

How to Practice Scale Accents Like Kurt Rosenwinkel | MattWarnockGuitar.com

Check it out if you're interested, very cool exercise, thanks!

JensL · #2 09-01-2011, 07:55 AM

Nice article! I thought he was doing groupings of 7 in the video that I saw, but I can't seem to find.
Seems a good idea though to do this with rhythms that go across the barline?

Jens

m78w · #3 09-01-2011, 07:58 AM

yeah there's a ton of different things in that video, I think it's a series of 2-3 days during a workshop in Italy, Kurt actually speaks Italian at one point in the video, pretty cool!

JonnyPac · #4 11-17-2011, 02:39 PM

Great article! I missed it a first... Needs a BUMP!

markf · #5 11-17-2011, 04:09 PM

thanks a lot, your posts are always helpful.

m78w · #6 11-17-2011, 04:11 PM

Thanks guys, glad you dug it!

Arnesto · #7 11-17-2011, 06:55 PM

Wowo! Thanks! (obrigado)

m78w · #8 11-18-2011, 12:30 AM

Nada!

m78w · #9 11-18-2011, 02:20 PM

No problem i love these exercises, glad you dug the article!

JonnyPac · #10 11-18-2011, 02:46 PM

Any thoughts on "Tension and Release beats" in jazz. Seems like accents really have one quality or the other and giving them somewhat separate treatment wound be beneficial...

m78w · #11 11-19-2011, 06:04 AM

Yeah there can be a case for that. Hal Galper talks about resovling lines to 1 and 3 for stronger resolutions for example. I think it depends om the situation. If you are playing with a drummer or other musiciams then any beat could be a resolution if you are all coming together on a rhythmic idea, then the last punch of that idea can be a resolution on an up or down beat.

Also, if its a rhythm like the charleston and you are workimg that around the bar than the resolution is the second of those two notes in the phrase, so the resolution could be the up beat if you start on one, or the down beat if you start on the and of one.

Style is also important. If you accented and resolved to one or three on a brazilian jazz groove you would kill the forward motion of the beat, so resolvimg to the second amd fourth sixteenth notes of beat two is what keeps the groove moving forward, but this might not work for a swing, funk or blues groove.

So i think it depends on the situatio, playing solo or playing in a group, tempo, style of the song and what rhythmic pattern you are working at in your lines.

JensL · #12 11-19-2011, 06:29 AM

Quote:

Originally Posted by JonnyPac

Any thoughts on "Tension and Release beats" in jazz. Seems like accents really have one quality or the other and giving them somewhat separate treatment wound be beneficial...

I think that there are two different subjects here: The tension release beats are where the harmonic rhythm falls and how you land on or displace those melodically.

The Kurt exercise is about how you free up your ability to accent notes in a phrase. The example on youtube has him playing diatonic triads and putting accents as in groups of 7 eight notes. It is about independence and dynamic control more than harmonic rhythm.

Jens