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Anything of Wes playing a slow swing or a three.... Full House is another good one
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05-23-2019 03:02 AM
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This paper explains some of the observations discussed in this thread.
http://www.speech.kth.se/prod/public.../files/822.pdf
Abstract
The timing in jazz ensemble performances was investigated in order to approach the question of what makes the music “swing.” One well-known aspect of swing is that consecutive eighth notes are performed as long/short patterns. The exact duration ratio (the swing ratio) of the long/short pattern has been largely unknown. In this study, the swing ratio produced by drummers on the ride cymbal was measured. Three well known jazz recordings and a play-along record were used.
A substantial and gradual variation of the drummers’ swing ratio with respect to tempo was observed. At slow tempi, the swing ratio was as high as 3.5:1, whereas at fast tempi it reached 1:1. The often-mentioned “triple-feel,” that is, a ratio of 2:1, was present only at a certain tempo. The absolute duration of the short note in the long-short pattern was constant at about 100 ms for medium to fast tempi, suggesting a practical limit on tone duration that may be due to perceptual factors.
Another aspect of swing is the soloist’s timing in relation to the accompaniment. For example, a soloist can be characterized as playing “behind the beat.” The swing ratio of the soloist and its relation to the cymbal accompaniment was measured from the same recordings. In slow tempi, the soloists were mostly playing their downbeats after the cymbal but were synchronized with the cymbal at the off-beats. This implied that the swing ratio of the soloist was considerably smaller than the cymbal accompaniment in slow tempi. It may give an impression of “playing behind” but at the same time keep the synchrony with the accompaniment at the off-beat positions.
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I think what this thread is about (which is a reflection of the times we live in rather than what Miles Davis may have expressed in an interview back in the 80s); Jazz musicians challenged by computers, DAWs, sequencers, drum machines and clicks.
-Why is it so hard to make the DAW groove? Why doesn't my MIDI file from a TAB sound anything like the original recording? Why is my timing in the part I just recorded so poor?
The problem has many layers; The representation of the data must be a valid model and the gear must be smart enough and powerful enough to execute it. Still the computer cannot be in the pocket. I have to have the knowhow, how to make it swing and it's a time consuming task, far from the beauty of playing in a band making magic together.
The first problem is that Jazz notation is an approximation. Written straight eights are seldom supposed to be played straight. Solution: I have to study the concept of swing ratio and how it's applied to MIDI files and DAW Instruments.
The second problem is the computer clock static tempo, creating an artificial, lifeless representation. Solution: I have to learn how to use the DAW to make tempo variations. If my DAW doesn't support it, I better upgrade my DAW.
The third problem is software and hardware latency, meaning that what I hear when recording is not what I get. Solution: I have to learn how to tweak latency parameters and/or upgrade my DAW and sound card. I remember my first home computer recordings; I was shocked by my poor timing and forced myself to play ahead of the beat
The examples above may also explain why pop music over the last 20 years hasn't changed much and why the foundation of contemporary pop is some static pre-programmed beat in some software plug.
Jazz is playing together, vibing together, getting into the groove together, negotiating tempo and swing ratio during a live session. It's a bit too organic for the computer to cope with. Jazz is best experienced in the absence of computers. Jazz is a living thing.Last edited by JCat; 05-24-2019 at 03:15 AM.
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Yes, I've read this.
Originally Posted by JCat
The paper I posted above is an attempt to directly measure the theories being talked about here. I have to say I think they need to do a bit more research to be more conclusive (for instance, why the hell didn't they use the same soloist at different tempi?) but musicology isn't the day gig of the guys who wrote the second paper... They are physicists who happen to like jazz. Hopefully there will be more stuff done though.
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I think a lot of this stuff for me comes down to the apparent contradiction that some jazz musicians swear by metronome practice and others regard it as a bad idea. As there are greats & legends lining up on both sides, I figure the apparent contradiction has to be a manifestation of a deeper unity. Originally Posted by JCat
What I think this thread is about (which is a reflection of the times we live in rather than what Miles Davis possibly expressed in an interview back in the 80s) are Jazz musicians challenged by computers, DAWs, sequencers, drum machines and clicks.
-Why is it so hard to make the DAW groove? Why doesn't my MIDI file of eights from a TAB sound anything like the original recording? Why is my timing in the part I just recorded so poor?
The problem has many layers; The representation of the data must be a valid model and the gear must be smart enough and powerful enough to execute it. Still the computer cannot be in the pocket. I have to have the knowhow, how to make it swing and it's a time consuming task, far from the beauty of playing in a band making magic together.
The first problem is that Jazz notation is an approximation. Written straight eights are seldom supposed to be played straight. Solution: I have to study the concept of swing ratio and how it's applied to MIDI files and DAW Instruments.
The second problem is the computer clock static tempo, creating an artificial, lifeless representation. Solution: I have to learn how to use the DAW to make tempo variations. If my DAW doesn't support it, I better upgrade my DAW.
The third problem is software and hardware latency, meaning that what I hear when recording is not what I get. Solution: I have to learn how to tweak latency parameters and/or upgrade my DAW and sound card. I remember my first home computer recordings; I was shocked by my poor timing and forced myself to play ahead of the beat
The examples above may also explain why pop music over the last 20 years hasn't changed much and why the foundation of contemporary pop is some static pre-programmed beat in some software plug.
Jazz is playing together, vibing together, getting into the groove together, negotiating tempo and swing ratio during a live session. It's a bit too organic for the computer to cope with. Jazz is best experienced in the absence of computers. Jazz is a living thing.
This sort of research is starting to make me realise what that deeper thing is...
I don't actually think the student needs to know any of this stuff, any more than a vocal student needs to know the anatomy of the human vocal tract and lungs. But it can help the teacher understand how to pass on something that they might never have had to think about, even if it's just seeing how the traditional ways of teaching this stuff connect up.
In general experiential learning is the best for anything. Music is a language.... But OTOH, experiential learning is fastest and easiest in early life. This is where the whole thread topic really comes from, BTW... Cultural background and early years learning...
Someone once told me if a Brazilian kid starts tapping a rhythm on a table, the family joins in, if an English kid does it he is told to stop making noise. Might not be true, but I think it makes the point. (In a musical family, too, a child's first attempts at musical expression are more likely to be valued than silenced.)
This shit starts very early, so it's easy to see how these things get confused...
For the rest of us who may have been rhythmically educationally disadvantage by growing up in, say, the Home Counties (hey Brighton's a hip place, but it is or at least was very white) need all the help we can get... I compare it trying to learn a language. You can do the grammar and the vocab, everything, but if you learn it later in life you may always have an accent. The aim is to get that accent to be a lilt, a flavour rather than a thing that inhibits communication, but you may never be able to remove it completely, and why would you want to?
Actually Richard Feynman put it the exact same way when he talked about his experiences of learning Frigidaire in Rio back in the 50s...
Now this samba school was a thing where guys from the favelas -- the
poor sections of the city -- would come down, and meet behind a construction
lot where some apartment houses were being built, and practice the new music
for the Carnaval.
I chose to play a thing called a "frigideira," which is a toy frying
pan made of metal, about six inches in diameter, with a little metal stick
to beat it with. It's an accompanying instrument which makes a tinkly, rapid
noise that goes with the main samba music and rhythm and fills it out. So I
tried to play this thing and everything was going all right. We were
practicing, the music was roaring along and we were going like sixty, when
all of a sudden the head of the batteria section, a great big black man,
yelled out, "STOP! Hold it, hold it -- wait a minute!" And everybody
stopped. "Something's wrong with the frigideiras!" he boomed out. "O
Americana, outra vez!" ("The American again!")
So I felt uncomfortable. I practiced all the time. I'd walk along the
beach holding two sticks that I had picked up, getting the twisty motion of
the wrists, practicing, practicing, practicing. I kept working on it, but I
always felt inferior, that I was some kind of trouble, and wasn't really up
to it.
Well, it was getting closer to Carnaval time, and one evening there was
a conversation between the leader of the band and another guy, and then the
leader started coming around, picking people out: "You!" he said to a
trumpeter. "You!" he said to a singer. "You!" -- and he pointed to me. I
figured we were finished. He said, "Go out in front!"
We went out to the front of the construction site -- the five or six of
us -- and there was an old Cadillac convertible, with its top down. "Get
in!" the leader said.
There wasn't enough room for us all, so some of us had to sit up on the
back. I said to the guy next to me, "What's he doing -- is he putting us
out?"
"Nao se, nao se." ("I don't know.")
We drove off way up high on a road which ended near the edge of a cliff
overlooking the sea. The car stopped and the leader said, "Get out!" -- and
they walked us right up to the edge of the cliff!
And sure enough, he said, "Now line up! You first, you next, you next!
Start playing! Now march!"
We would have marched off the edge of the cliff -- except for a steep
trail that went down. So our little group goes down the trail -- the
trumpet, the singer, the guitar, the pandeiro, and the frigideira -- to an
outdoor party in the woods. We weren't picked out because the leader wanted
to get rid of us; he was sending us to this private party that wanted some
samba music! And afterwards he collected money to pay for some costumes for
our band.
After that I felt a little better, because I realized, that when he
picked the frigideira player, he picked me!
Another thing happened to increase my confidence. Some time later, a
guy came from another samba school, in Leblon, a beach further on. He wanted
to join our school.
The boss said, "Where're you from?"
"Leblon."
"What do you play?"
"Frigideira."
"OK. Let me hear you play the frigideira."
So this guy picked up his frigideira and his metal stick and...
"brrra-dup-dup; chick-a-chick." Gee whiz! It was wonderful!
The boss said to him, "You go over there and stand next to O Americana,
and you'll learn how to play the frigideira!"
My theory is that it's like a person who speaks French who comes to
America. At first they're making all kinds of mistakes, and you can hardly
understand them. Then they keep on practicing until they speak rather well,
and you find there's a delightful twist to their way of speaking -- their
accent is rather nice, and you love to listen to it. So I must have had some
sort of accent playing the frigideira, because I couldn't compete with those
guys who had been playing it all their lives; it must have been some kind of
dumb accent. But whatever it was, I became a rather successful frigideira
player.Last edited by christianm77; 05-23-2019 at 05:12 AM.
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Lovely story,
Be careful with that samba rhythm, It's sticky, hard to shake it off.
One more thing that just struck me; about the time when Miles makes his statement, the click track was the plague. Everyone was supposed to play with click in-ears. A drummer that couldn't follow the click track, was suddenly out of work. Guys that used to be pacers became slaves under the click.
I saw Miles in a sparkling red space suit, a red horn and shades looking like goggles, together with his band on stage in the mid 80s. Steinbergers and Digital synthesizers. At that point he had left "Kind of Blue" far behind.
Last edited by JCat; 05-23-2019 at 10:53 AM.
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When I listen to Jazz Soloists and especially Guitarists I hear a lot of different time feels that still sound excellent or great even behind the beat comping can sound great depending upon the track/arrangement .
Jazz seems to be set up for a lot of open space and flexibility regarding time feel ( though I don't claim to be knowledgeable enough on Jazz to make this call ).
My ability to play tight is not from knowledge it's feel and ' sync'.
But I think many will agree for example on harmonic rhythm pulse Music - even Bossa - there are strict limits on how late you can be on the Rhythm Guitar ( Jobim type Bossa Rhythm ) - not so much on the Solos ..
Then one step further ( or backwards because these Rhythms may put you in a 'straight jacket ' trapped ...lol ) because there is less wiggle room on the chords AND the soloing ( to my ears and hands )..
However I can play a bit behind as long as I hit major downbeats frequently ...but the pocket is just' tighter' .
But really the Brecker/Benson ( or 90 % of it ) feel just locks into this stuff cuz it's a tighter feel and IS actually tighter to the 'Grid ' - tho I am not a DAW type thinker.
Jazz seems to be structured ( non structured ) compared to R&B , Classical, Modern Pop etc ( quantized Main Beats etc) .
Do you Guys here it this way ?
Not much wiggle room to play behind the Beat ....on the above ... feel it ?
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Yeah, R&B must be tight, some Jazz is looser, some is tight. The wiggle room depends on the tempo and the beat.
I love "Higher Ground", check this out, a slow version by Master Larry Carlton and Fourplay. Looser, right?
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Yeah - love that Vocalist too.
They have Midi production with live stuff ...best way..( I mean if you need MIDI production ...use as little quantize as possible and as much live Musicians as possible and don't quantize any of the' live' stuff .
And LC is a true master -agreed .
He has done so many epic Solos and can expand Blues to eloquent but still has that raw emotion and Plays so cool over everything ...
I like that Track a lot .
In the 80's I had a lot of Larry Carlton cassettes ( remember those ) - LC has some of the best Solo albums IMO..
One of the most expressive Guitarists ever..Last edited by Robertkoa; 05-24-2019 at 05:25 PM.
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Yes. I had this super long Post ...lol.
But you have touched upon a very good point Jcat.
I was/am time sensitive having ZERO to do with Micro Time / Macro Time in the analytical sense but I always had very tight time on Rhythm Guitar .
But HERE's the irony :
If you can Play Super Tight R&B Rhythms [ fully - I will explain next ].
Jazz Rhythms are easy rhythmically .
Conversely - Harmony / scales / Modulations / transposing on the fly etc .
which Jazzers take for granted ..
IF you [ especially Me lol ] can handle Jazz per above - R&B is a piece of cake - Harmonically etc. but I am expanding R&B harmonically now ( not while I type though
.
NOW -here is an interesting thing for you to try ESPECIALLY if you are a Veteran Jazzer and an advanced Theorist / Player.
I am curious how you more advanced Theorists / Readers hear - feel this .
In Higher Ground by Stevie we have the essence of 'swing' IMO ( the real swing ) - which is a beautiful clash and MELDING at a fundamental Rhythmic Level - the mix of African Rhythms (SOME of them ) with Full Classical Harmony and devices ( or most of them .
So instead of talking about Barry Harris - great educator though he may be - ( not the Funkiest Player or Harmonic Rhythmatist or even close - lol).
With Higher Ground you hear the triplet or implied 12/8 over 4/4 or whatever( I just feel it - that's how I do it , that's how I can go from from ' hard swing' very near Benson ...to further back although forward is more normal for me .
So take your single lines and play over Higher Ground....see if you need to adjust.
Even cooler ( and I did not learn from doing this - but just did it gradually ) - IF you fingerpick or play a little Classical or Pick and fingers etc..
You will see that the straight time Rhythms like Chet Atkins /Travis Picking etc and many Classical type stuff need to be rather severely adjusted to fit the 12/8 Africa over 4/4 or WHATEVER we should call it.
You might also hear/ see that Bossa Rhythms just need a little push forward but you can get some really cool variations .
And if you fingerpick over these Rhythms it's very enlightening...
Rather than those horribly vague descriptions of 'Swing ' ESPECIALLY in the chords and plucking- fingerpicking/ pianoguitar you will probably feel and hear this .
It's' real ' . The time adjustment needed is 'real' to Sync.
I am going to call it something OTHER than swing to avoid all that 'debate' .
I am fusing these at Basic Levels rather than copying or deciphering people who can't play it and I am not a copier type learner - I learned long before Internet ...Last edited by Robertkoa; 05-25-2019 at 01:51 PM.
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Very good, I think of the loose shuffle as a link between Jazz and R&B groove. Originally Posted by Robertkoa
Yes. I had this super long Post ...lol.
But you have touched upon a very good point Jcat.
I was/am time sensitive having ZERO to do with Micro Time / Macro Time in the analytical sense but I always had very tight time on Rhythm Guitar and now it's in my lines and expanded my fingerpicking into beyond Chet time feels ...
But HERE's the irony :
If you can Play Super Tight R&B Rhythms [ fully - I will explain next ].
Jazz Rhythms are easy rhythmically .
Conversely - Harmony / scales / Modulations / transposing on the fly etc .
which Jazzers take for granted ..
IF you [ especially Me lol ] can handle Jazz per above - R&B is a piece of cake - Harmonically etc. but I am expanding R&B harmonically now ( not while I type though.
NOW -here is an interesting thing for you to try ESPECIALLY if you are a Veteran Jazzer and an advanced Theorist / Player.
I am curious how you more advanced Theorists / Readers hear - feel this .
In Higher Ground by Stevie we have the essence of 'swing' IMO ( the real swing ) - which is a beautiful clash and MELDING at a fundamental Rhythmic Level - the mix of African Rhythms (SOME of them ) with Full Classical Harmony and devices ( or most of them .
So instead of talking about Barry Harris - great educator though he may be - ( not the Funkiest Player or Harmonic Rhythmatist or even close - lol).
With Higher Ground you hear the triplet or implied 12/8 over 4/4 or whatever( I just feel it - that's how I do it , that's how I can go from very close to Benson and back off to the Classical feel of Adam Rodgers ( I do not wiish to emulate His Bach influenced his Time...except when I do 2 part inventions Classical Style - that's by coincidence to his Classical feel )
Don't Know if Adam could swing 12/8 front of beat - don't care )...
So take your single lines and play over Higher Ground....see if you need to adjust.
Even cooler ( and I did not learn from doing this - but just did it gradually ) - IF you fingerpick or play a little Classical or Pick and fingers etc..
You will see that the straight time Rhythms like Chet Atkins /Travis Picking etc and many Classical type stuff need to be rather severely adjusted to fit the 12/8 Africa over 4/4 or WHATEVER we should call it.
You might also hear/ see that Bossa Rhythms just need a little push forward but you can get some really cool variations ( which you Guys can count and notate and expand upon in the future ) .
And if you fingerpick over these Rhythms it's very enlightening...
Rather than those horribly vague descriptions of 'Swing ' ESPECIALLY in the chords and fingerpicking/ piano you will probably feel and hear this .
It's' real ' . The time adjustment needed is 'real'.
I am going to call it something OTHER than swing to avoid all that 'debate' .
I am fusing these at Basic Levels rather than copying or deciphering people who can't play it and I am not a copier type learner - I learned long before Internet ...
However I should not be too cocky about this because I have greatly benefitted from being exposed to and helped by the Jazz Theorists ( and actual use practical stuff) from you Guys ...and hearing the Masters etc.
Triplets are tight, but the the shuffle beat allows some degree of swing.
(Teachers may introduce Jazz students to the shuffle beat to get a feel for swing.)
Pretty Purdie 'splains to us:
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Great . Thanks for posting .
He is killer at this...must listen many times and digest fully.
Sounds good, feels good and super funky .
I once hired a Singer ( just a Commercial ) who had just worked with Purdie and was raving about him - he was already famous in the 70's ).
As I have said before the 'Hard Swing' ( my term ) of Benson/Brecker fits all of these ..
I am quite close in time feel to the Killer B's..
But becoming more aware of 6/4 , 6/8 and 12/8 can cause me to leave holes for some crazy patterns and also Rhythm Guitar parts etc. I do it instinctively by ear now which is cool ...
But - being more aware [ Drum Theory rudimentary reading ] can lead me into some new Rhythms especially Latin 6/ 4 etc.
The brilliance of George Benson - close to that ( GB's ) time feel fits Jazz , R&B ,
House Reggaeton , Latin etc.
Brecker was like that- he usually seems just a hair behind Benson in time [ to my ears/beat center non analytical processor]
[In part because the Guitar can almost be a percussion instrument the Guitar IMO has an advantage over Horns for playing tight percussion type figures ]
What happens when you play over 'Higher Ground ' ?
Most fingerstyle stuff has to be rhythmically adjusted also and gets funkier/more urban / rhythmic etc.
When you play over R&B , including modern Dance and Latin Styles ...
You can't play straight up and down Travis Picking & Variations [Chet Atkins, Tommy Emmanuel etc ] ...over ' Higher Ground ' it just will sound 'off time' even to non musicians .
I'd rather hear Brecker/Benson/Hancock/ Tyner talk about 'time feel ' than Miles.
Or Sting / Donald Fagen/Stevie or the 'other' Stevie - Winwood.
I really liked the Purdie clip though.
Just Playing over different program material is the best door opener IMO - different Rhythms etc.Last edited by Robertkoa; 06-09-2019 at 08:44 PM.
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I saw him in about '71. On the Corner arrived soon after. The band I was playing with at the time was interested in exploring that. I remember telling the drummer and bassist they weren't getting it. They needed to play more stiff. More like a machine. Long before click track. The tablas swing in spots and in others just about as on the beat as it gets.
Zakir Hussain sat in with us once. No tabla available. He played mostly quarter notes squarely on the f'in beat on high conga. Maybe he figured we needed some help. He's an awesome drummer.
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Miles' comment from the interview in question. This is all the context that even the full interview offered...but the usual Miles.
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Playing "fat notes" seems to suggest the image of a score with graphically larger note heads with respect to their stems and flags, as if their individual initiation (attacks) were represented as variable in the time domain, extended about their absolute beat centers.
I think this is similar to the idea of "beat width", which describes the variance around the absolute beat center within which a skilled player may place and articulate his notes and still sound rhythmically good. A player's beat width is a personal measure developed through time and experience, comprised of many micro-techniques generally below their level of conscious execution.
Longer beat width / fatter notes is highly desired for playing jazz; you know when you hear it.
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There's that saxophone bloke on the internet who suggests short notes are preferred for notes on the upbeats. (I'll track down the link, it was posted here yonks ago.)
Like all these sweeping statements I'm sure it's not generally true, but it seems often the case.
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Although I don't agree with the OP, isn't this thread enough proof that we need a rhythm/time section of JGF? Actually, what would that section be called, formally?
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+1
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So, how do we start this new section for once and for all. Rhythm and time don't fall into the sections we already have. Actually, everything we discuss should ultimately trace back to time, rhythm, and "feel".
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I think I have long done this on 'Rhythm Guitar' parts where the exact durations of the chords accent or affect the harmonic rhythms . Originally Posted by pauln
Think of a Jobim type Bossa and then ( in your mind or on the Guitar ) you could use the same start points but let them ring a bit longer with a slow tempo and a late snare hit right after the l-o-n-g-e-r ringing chords - you could do a modern R&B or even Hip Hop halftime feel Bossa ..I can ' hear' it .
And these days I can play a much larger % of what I hear -
The into to 'Start Me Up' on the second chord does another type with similar principal...Keith Richards and the Stones used this on a lot of tunes.
IMO where this really counts is making chords and rhythm parts really pulse and breathe .....regardless of voicings.
Jazz Guitarists rarely play self contained Harmonic Rhythms ( exception Bossas ) - which is better for me ..lol.
Wes did a chord break on 'Road Song ' which has a great , funky Harmonic Rhythm , surprisingly - but I find these organically rather than listen to others, and it's surprisingly rare in Jazz Guitar as I have said.
But turning a 'head'or a melody into a more vocal performance could definitely use this principle .
Great vocalists seem to use this type of thing a lot....Last edited by Robertkoa; 06-12-2019 at 06:05 AM.
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Originally Posted by rpjazzguitar
True - totally track dependent ...I am an advanced Guitarist now but still am a Pop/ R&B / Player ...
So it's a difference when ' comping' which are often like horn stabs / accents - where Brazilian Guitar seems to go either way...part of the
Harmonic Rhythm sometimes , sometimes just accents.
Chico Pinero does both I think - the Brazilian guys seem to
really groove ...
I am more like Andy Summers was in the Police (I am not that brilliant lol - easy to Play but no one ever thought of it in Pop mostly )
where the Guitar is really part or a main part of the Harmonic Rhythm ..or like the left hand of a Keyboard Player - not much room to be late or early .
My pick and fingers style is much more sophisticated than Summers was - but he was perfect for that Music IMO and super creative.Last edited by Robertkoa; 07-08-2019 at 08:18 AM.
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Didn't João Gilberto sing consistently in front of his guitar beat?
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Wow. That's an interesting observation. I know little about Brazilian and just pulled this up by random on Youtube. Originally Posted by rintincop
He does appear to do exactly that on this tune at times - doesn't he ?
It's the way the chords swing I think , where the second part of the measure sounds behind the beat due to the rest note in the Rhythm and the Upbeat placement of the chords - he might not really be ahead technically .
He's almost singing in half time isn't he ?
I always like his Guitar Playing - a minimalist - but brilliant.
I love the smooth modulations on this tune and the crisp groove !
I will probably learn this( the voicings ) there are some cool variations in the Guitar Rhythms and voicings at the outro of the tune.
On the next tune he IS ahead slightly at a few points - just as you say at times- and it all fits like a glove .
You Guys who have done a lot of transcribing - please correct me on this if needed.
I hear and play Bossa type and some Variations as starting on the 1 but the second part of the Measure/Pattern occurs partially so Gilberto appears to sing ahead due to the syncopation but there are times when he does go ahead a bit and over the bar lines - all while holding down those cool Bossa Rhythms and voicings.Last edited by Robertkoa; 07-09-2019 at 12:49 PM.
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Swing is about playing with the beat, to my ears
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I agree with this completely. Originally Posted by tonyburgos
If I play ( and actually anyone else - but I am not telling people what to do - lol- ) quarter or eight note triplets locked to a metronome or beat and
*>evenly spaced including over bar lines <
It swings already , it can not avoid swinging .
It can be pushed a bit or relaxed a bit or accented etc to pulse even more or glide even more or track ( emphasize certain harmonic rhythms more or less ) a little differently but to my ears it all comes from that .
I once played a 'swing' Head on a Tune written by someone else and didn't even know it was 'swing' The Piano Player/writer just played it and then kinda sang it - it was fast like a Blues Scale oriented Fusion -( Emin7 - Fmaj 7 ( harmonic Fusion not the loud Rock stuff ) for me until I got it .( I did not know it was Jazz lol.)
Some Jazz Musicians seem to make it a real zen ( mysterious ) , or complicated issue, "swing".
I find that Triplets, sextuplets always swing- then I can carry that over into other figures....Last edited by Robertkoa; 07-19-2019 at 11:52 AM.
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