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A short video Tim posted on his Facebook page some time back. I found it useful and think others might also.
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01-21-2017 02:57 PM
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Thanks for sharing!
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Awesome stuff. Wish I could meet you f2f but Australia is a fair distance.
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Every now and then you come across something that can change the way you play in a moment.
I've struggled with playing long strings of notes at high tempo -- so I end up playing half notes at high tempos and feeling frustrated.
This video clearly explains another way to think about the problem that was immediately applicable.
Much appreciated!
Rick
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Very good, informative video, presented in a relaxed and engaging style. I think that the concept explained here would be of great value to a lot of people - I hope more folks click on the link.
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Originally Posted by reventlov
That's my thought too. I definitely came up thinking I had to "conquer" the tempo, which made my playing agitated, very hit-and-miss, and invariably exhausting. What Tim is teaching here is much better for the player AND for the audience.
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Wow. I've been learning some Jimmy Raney solos with a group on this forum. The tempos have pushed me past what I've done before, and the idea of reducing the count to 1 and 3 has been a life-saver. I'm so glad to see I'm not alone and had blundered onto something that was actually real.
This is a great clip. It makes me want to tackle faster tempos and see what I can do with rhythmic ideas.
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I've been reading through the Raney Aebersold book that 55bar lent me. What I particularly like about the way the book is laid out is the way they've done the beaming so you can really see the rhythms. I wish more books were like that.
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Check out Hal Galper's book and youtube videos: he point is precisely this: the faster you play, the slower you count. Which he too got from John Birks Gillespie. Originally Posted by lawson-stone
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Looking forward to watching this tonight!
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I remember seeing that video somewhere around here. Great tip. I suppose at the fastest tempos (tempi?) one just counts "one" for each bar. Originally Posted by NSJ
Check out Hal Galper's book and youtube videos: he point is precisely this: the faster you play, the slower you count. Which he too got from John Birks Gillespie.
Sometimes I shift between 1&3 and 2&4. In the same tune---crash!
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Great video. All concepts I have personally used with success.
two additions:
1. If the tempo in question is 220, great to also practice at 110 trying to 'double time' lines. Like the 1 and 3 thing, it gives us a different mentality towards the tempo, even if we might play the same stuff.
2. Depending on who you are playing with, sometimes fast tempos do get called, like upper 200s and even 300 and we may have to have something up our sleeve for the circumstance. An approach I like is, rather than dealing with streams of 8th notes and trying to push that metronome up from 180 to 185 to 190 etc over a long period of time, just turn it on to 300 today and do whatever you can while keeping form for the tune, maybe that means playing simple rhythms or whole notes or what not. I've spent some time with this and found it very helpful. Remember that that's the same as doing the tune at 150 with the harmonic rhythm going by 2x as fast, so how tricky it is is going to be very tune-dependent. If you can do SOMETHING - even something stupid and simple, at 300+, then playing at 220 will feel a lot lighter and easier, even if you can't burn 8th note lines through it.
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Sound advice.
One thing that I abuse a lot is the quarter triplet at high tempo. Basically you are playing a half time 6/8. It's great for adding more space when it's really racing while still expressing the tempo and playing something that will actually swing
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one comment about this idea (i.e. subdivision) of feeling the beat on 1&3 as opposed to 1&2&3&4 is that if you tend to do metronome practice with the beat on 2&4, it may preclude you from feeling 1&3, or cause you to turn the beat around. But, on the other hand, if you let the metronome beat the 1&3, it is easy to slip from a swing to a more straight 8ths feel. At least that happens to me. So there's some mental juggling you have to do to keep swinging but feel in half time. Of course for straight 8ths stuff it is a lot easier to feel the pulse in half-time.
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That's an interesting point actually - I usually tap my foot on 1 & 3 and have the click on 2 + 4 or just 4. I might try with the click on the 1 & 3 to see how it effects my phrasing. Originally Posted by pkirk
You still have to place upbeats in the right place though. Two much two can get a bit 'on the beat.' The straight 16th thing is less of a problem at upper tempos. The swing gets subtle. Laid back straight is good north of around 180 anyway - you can still play a swing upbeat and quite straight...
Sorry to keep posting Louis stuff, but he basically invented the concept of swing feel, so I'm not really sorry. Here he is on Potato Head Blues. I post this because it's a real 2-feel (well it's stop time actually), but it's great to hear how Louis at 1:50 is straight(ish) but also swinging against the beat.... Far from a stereotype idea of a swing feel. The tempo here is 180, so hardly up... and yet it swings like a barn door.
Now imagine that feel with a modern rhythm section and you have Adam Rogers (almost :-))
Remember funk and jazz both come out of NOLA Second Line rhythm. They aren't that different IMO.
Of course there are those that advice primarily playing along with records and avoiding the click. That's certainly a good one as well.Last edited by christianm77; 01-26-2017 at 02:43 PM.
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Here's a link to the same track that works in the USA. It's a nice example. Originally Posted by christianm77
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