The best way to understand the jazz swing feel is to lis- ten to hours of great musicians playing jazz. A close examination reveals many different concepts from. Bert Ligon Jazz Theory goudzwaard.info - Ebook download as PDF File .pdf), Text File It is my contention that jazz music theory should not be separated from. Get Free Read & Download Files Jazz Theory Resources Bert Ligon PDF solution manual you download in a book store or download off the web. Our. Over

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goudzwaard.info of Bert Ligon's book Connecting Chords With Linear Harmony! apos s vibrating screens and separators easyfairs document. Mar 28, goudzwaard.info of Bert Ligon's book Connecting Chords With Linear Harmony! This is written immediately after the clef (on the staff) and is . The best way to learn to play jazz is to learn your instrument, listen to and . has been processed, you will receive an email containing attached PDF file(s) of the.

Original Poster Here's some thoughts and a bit of my response It seems the moral of the story is: be aware of what you are playing and why you are playing it, and the 4th dimension of time applies to all musical elements, not just melody and raw percussion. I hear linear lines in motion, but even upon listening to pure polyphonic music, I hear homophonic colors since I was conditioned with such like most modern ears. Playing purely for the "color" of a mode instead of the "function" even within functional music is my current fetish. I like the sound of "elegant" voicings, as I call them. Pentatonic voicings, 4th stacks, "Bill Evans" left hand voicings adapted to the guitar are my stand-bys nowadays.

The irregular accents should not be mistaken for haphazard. Eighth notes will get a slight accent on the upbeat rather than the downbeat. Part of the African music tradition is the use of irregular and sometimes unpredictable accents. A traditional jazz band will play four quarter notes in a row and beats two and four will get slightly more of an accent than beats one and three. Heavy irregular accents are part of the tapestry of jazz music.

Making the surrounding notes softer will help the accented note stand out.. Often this means playing the surrounding notes softer. Usually he will snap his fingers on beats two and four to establish the tempo and then count. Beats three and four are the weaker beats. Classical music performance demands the refined. Important notes Jazz Theory Resources. The shape of the line is the most important thing to consider when determining accents.

The top notes of a line and any changes of direction call for an accent. The resulting rhythm is a series of dotted quarter notes. The resulting accents will often suggest another pulse and help create the polyrhythms inherent in jazz.

In the following example which is closely related to a favorite line of Charlie Parker the top notes of the line should receive an accent. These accents create a counter-rhythm to the four quarter notes per measure. Jazz improvisers will almost never play the melody the way it is written in sheet music. Using a repeated note iteration.

There may be a slight crescendo at the end of the note into either the cut-off or the next melodic pitch. This is Jazz Theory Resources.

While some notes are played earlier. The anticipation pushes the melody forward. Here is a five-note melodic idea as it may appear on sheet music. This is also true in the African drum ensemble and the jazz rhythm section. He expressed surprise at playing quarter notes short and playing all the long notes forte-piano.

What follows is some general guidelines for the roles and responsibilities within the jazz rhythm section. Chapter 2 Rhythm in Jazz Performance 15 more prevalent in ensemble work than in improvisation and will vary in intensity depending on the ensemble. Once these roles are established. In early baroque music. This may be only a point of departure for many great jazz drummers.

For him this was just part of how to make it sound like jazz. The pair of eighth notes may shift and in doing so imply time signatures other than 4. In a rehearsal recently. The pulse is generated from two parts of the rhythm section: Determining the basic roles will help in understanding the foundation and help to understand the deviations from the norm. Probably few of the earlier jazz musicians thought a great deal of exactly what things went in to making the music sound like jazz.

The ride cymbal pattern can be many variations of quarter and eighth note combinations. The jazz musicians were expected to see the notes and interpret them in a jazz style. There is no substitute for the aural experience. This underscores another major difference in the European and African cultures. Within an eight measure 4 phrase you may hear: The bass player may slightly emphasize the backbeat by accenting two and four with the hi-hat.

The player was expected to know how to phrase and articulate in the style. There are no African drumming etude books in the African drum tradition.

One disadvantage to reading charts with all articulations written in is the students never develop the critical skills to make the appropriate articulations and phrasing decisions themselves. The European tradition of learning involves the written page. Without the solid pulse as a foundation there can be no subdivision of that pulse. With any jazz performance.

He then played the passages for the younger players. The same is true for much of the music written for jazz bands. Most contemporary music published for jazz ensembles includes all articulation markings. Anticipation of beats one and three: That leaves the snare drum to accent other rhythmic figures.

The use of combinations of quarter note and dotted quarter rhythms add to the polyrhythmic character. Some possible snare drum combinations include: Often these notes are muffled or ghosted. These little spit notes have more importance as rhythm than pitch. In a swing feel. Paul Chambers on bass. Listen particularly to the rhythm sections of the John Coltrane Quartet where Elvin Jones on drums and McCoy Tyner on piano play streams of dotted quarter rhythms over the steady common time bass lines.

When listening to them stretch rhythmic boundaries In the blues. The structural places in a piece will usually be anticipated with an upbeat of four accent. The jazz improviser. The basic rhythmic currency for swing improvisation is the swing eighth. Tony Williams on drums and Herbie Hancock on piano stretched the boundaries of polyrhythms more than ever before.

The bass drum in contemporary jazz is usually used to accent major structural points or strong accents in the music. It is unlikely that all would decide to play the same figures without prior planning. Accent groupings of two eighth notes correspond to the quarter pulse while accent groupings of three eighth notes refers to the secondary dotted quarter Jazz Theory Resources.

Every one played one chorus with accompaniment and one without until we all could make it through the form keeping the time and playing the chord changes convincingly. When I was a young novice player. It was clearly not them. They did not swing nearly as well when I played with them. In the example below. G7 for four beats and C major 7 for eight beats.

The vertical alignment of notes may often seem senseless. The next time through the tune I stopped the rhythm section and allowed the saxophone to play an unaccompanied chorus. The bass player may directly follow the chord chart playing the roots of the chords on the downbeats as shown.

G7 is clearly heard on the third beat with a b9 arpeggio and again the Jazz Theory Resources. We confine the written notes of a line to measures for reading ease. A saxophone student in an improvisation class once complained that the rhythm section was not keeping good time and would occasionally play wrong chords.

Do not fall into the trap of labeling everything by its vertical arrangement. Music is heard and conceived in a linear manner and should be studied in the same way. The melody or improvised solo may play with the bass. The trumpet line begins the Dm7 on the upbeat. It was a valuable learning experience. I sat in with an outstanding bass player and drummer.

The pianist or guitarist may anticipate or delay the changes. There is a variety of harmonic rhythm in jazz performances and not all of it corresponds to the meter or to where it is written on the page. Below is an example of how different harmonic rhythms may be suggested in a jazz performance. It pointed out something to all of the class: If chords change every two beats.

The pianist or guitarist may anticipate each chord symbol playing the changes on the upbeat of four.

This is part of the polyrhythmic energy of a jazz rhythm section. I often ask. He could not keep the time or the changes by himself. We practiced a drill for a few rehearsals to gain control of these elements. Jazz suspensions may involve several notes. If there is one chord per measure in 4. It is important to remember this when analyzing written solos.

A jazz improviser. The discrepancy created by the different players making the chord changes occur at different times is a large part of what makes the jazz performance interesting. A chord chart may show the harmonic rhythm as whole notes: Dm7 for four beats. If chords change every four beats. Drummers learned to play the tune and keep the form on their solos. The rhythmic and melodic pieces sometimes agree and sometimes clash.

This is not unique to jazz. A drummer cannot fix the bad time played by one. A soloist has more freedom and may anticipate or delay a great deal when creating his lines. The second B may be slightly different than the first. Imagine that the entire piece represents one unit of time.

Being aware that all music is experienced in linear time will help in understanding the necessity of linear and not strictly vertical analysis of music. Zooming in another power at 4. The first B leads back down to the second A.

By zooming in on one chorus 3. Chapter 2 Rhythm in Jazz Performance 19 line spills into the next measure before coming to rest on the C major. The first line 1. The second and last A section may be slightly different than the first. It is better to begin with something larger than the whole note for an overview of rhythmic subdivision. A whole note is a small unit of time in relationship to the entire piece.

The second line 2. Example ABAB tune: Just Friends More will be discussed regarding form and its relationship to harmonic analysis in a later chapter. Example AABA tune: This eight measure phrase can be heard as four two measure phrases or two four measure phrases. Each chorus is further subdivided into four eight measure phrases labeled AABA. The second A may lead to the B. Each chorus represents a subdivision of the original time unit.

It is important to be able to hear and respond musically within these larger units of time. Most of the jazz standard tunes used as vehicles for improvisation fall into one of the following forms: The single measure is represented by the whole note in the graph below. Large form rhythmic subdivision: With this larger perspective.

A 8 measure phrase A 8 measure phrase B 8 measure phrase A 8 measure phrase 4. This single measure in 2. An improviser learns to feel an entire thirty two measure form. Piano solo: The piano player expresses his version of the melody and harmony. The B is the third beat of the form.

In fact. Restatement of the melody: Reminds the listener of original themes. Paragraph Three: Discuss another aspect of the subject. Mature players gain a great sense of where the pulse is and adapt to musical situations. With this perspective knowing where beat three is in a measure is analogous to knowing where the B section is in an AABA form. They can shift from playing ahead to playing behind.

Chapter 2 Rhythm in Jazz Performance 21 Seasoned improvisers and composers sense and feel larger units of time. Paragraph One: Discuss one aspect of the subject. The entire piece being subdivided into five parts makes the jazz performance very much like the five paragraph paper form as shown below: Jazz Performance Statement of the melody: Introduces the form and themes on which the band will improvise.

The band plays the melody again at the end Chorus V. There are other players who. To be able to play around the pulse effectively and convincingly.

The band plays the melody of the song for the first minute Chorus I: These variances in the hands of mature players give life to the performance. Paragraph Two: Five Paragraph Paper Introductory paragraph: Tell them what you are going to tell them. Alto solo: The alto player expresses his version of the melody and harmony. There are some players who consistently play slightly ahead of the beat which can give the music a forward drive. Closing paragraph: Tell them what you told them.

A beginning improviser should practice playing with a metronome and develop a strong sense of pulse before attempting to play around that pulse.

The alto sax improvises over the form for a minute Chorus II. Others can artfully play just behind the band. To continue this example. They are not necessarily rushing the beat. A improviser may learn to feel a thirty-two measure form as one unit of a four-chorus improvisation. Within each form. The push-pull inaccuracies are part of the life-blood of the music. This takes some time to master. Trumpet solo: The trumpet player expresses his version of the melody and harmony.

In younger players it may be an underdeveloped sense of time. A simple line composed of eighth notes can be played in different ways depending on the placement of those notes in relationship to the pulse. Different players will. But do not throw your metronomes away quite yet. Sometimes a musician will improvise several times through the form. The dotted quarter note imposition can occur anywhere in the measure and can be articulated in many ways.

In jazz performances. This is the most fundamental type of syncopation used in jazz: Much of the syncopated dissonance with the primary pulse is resolved after four or eight measures.

In musical notation that would be a dotted quarter 3. Syncopation is created by a shift of the accent in a musical passage.

Jazz Theory Recources Vol. 1 2 By Bert Ligon (Educational Book PDF

It is shown with four different articulations: This is one of the many rhythmic characteristics borrowed from African culture. Thirty-two is not divisible by three the dotted quarter pulse without a remainder of two. In the following example. Typically in the European model. There are thirty-two eighth notes in a four measure phrase which divides into sixteen even quarter note beats. By accenting every third eighth note. Any pitches that are played positive space may imply other pitches that are not played.

As with pitches. Switch every four measures. Have one section tap the top lines and the other tap the bottom lines on this and following examples. The bottom line in the following examples shows the rhythm of the notes that are not being played by the top line. Try dividing the class into two sections. A certain pitch may be stressed by playing a number of pitches around that pitch that point to that pitch. Chapter 2 Rhythm in Jazz Performance 23 Negative space is implied space created by a positive image.

The bottom line is then the negative space of the top line. Below are four black boxes positive space. This type of manipulation is one thing that creates dramatic interest in the music.

The concept of negative space is also important in music. Dexter Gordon. The negative space. Chapter 2 Rhythm in Jazz Performance 25 The dotted quarter rhythm from ex. In the following several examples.

Changing the rhythm will also change the implied negative space rhythm. As discussed previously and shown below. Chapter 2 Rhythm in Jazz Performance 27 2. A superimposition of two dotted quarters creates the feeling of 6 8 meter with the first dotted quarter on beat one..

If the primary pulse is a quarter note. Displacing the two dotted quarters by and eighth note puts a dotted quarter on the upbeat of beat one and another on beat three. Three quarter notes per measure defines the waltz All three rhythms are shown in ex.

Duke Ellington ex. Dave Brubeck ex. Many ask. Beginning with the pick-up notes. The following example is created with a line borrowed from Parker that has a different conclusion added. The idea began in the second complete measure and for the two measures Brown implied 3.

To develop individual vocabulary within that craft one must borrow from the vocabulary of those masters.

This may seem contradictory to develop individual vocabulary by borrowing from others. The implied divisions are shown above the line for reference. Several examples have already been shown from Dexter Gordon ex. Shifting between combinations of quarter and dotted quarter groupings makes this improvised line by Miles Davis interesting.

What one does with the borrowed material is what separates mimicking and parroting from true personal development. It is beneficial to study several examples from jazz performances to see how great jazz artists incorporate polyrhythms in their improvisations and compositions.

To learn language or a craft of any kind. Clifford Brown used the dotted quarter note pulse to break up an otherwise straight forward eighth note line. This idea recurred in many forms throughout this solo. I composed a blues that used nothing but Parker lines. Parker continued the play on the dotted quarter note in mm. It occurred in the exposition of this idea in mm. Parker achieved a balance between on the beat and off the beat material.

Parker played it earlier on the upbeat of beat one creating a second motive b which is really a variation of motive a. Parker emphasized the downbeats one and three by coming to rest on chord tones and using notes with longer values. Motive a returned beginning on the upbeat of beat three in m. The chart in ex. Chapter 2 Rhythm in Jazz Performance 31 In the first two measures of this improvisation.

Parker imposed a long passage of dotted quarter displaced accents. Parker used strings of dotted quarter note superimpositions beginning on beat three of m. Parker was inventive and dramatic in the development of his rhythmic ideas.

After so many dotted quarter notes. The second two measures had no melodic motion as Parker just drew attention to the rhythmic superimposition of dotted quarter values. Motive b returned on the downbeat of m.

Parker then returned to the first rhythmic motive beginning on the third beat of m. On the recording you can hear members of the band laugh at the way Montgomery set up a rhythmic idea only to turn it upside down or sideways just when they had it figured out. These three measures could have been notated as one measure of 6 followed by a measure of 4. The idea was com4 4 pleted and reset at the end of the eight measure phrase.

Parker was not thinking of notational questions when he conceived 4 of this line. Of course. Again the conflict of the two pulses was 4 Jazz Theory Resources.

Learning Resources

Montgomery developed this idea over an AABA form and eventually developed the four quarter note measure and elicited a surprised response from the band. There are countless examples of steady eighth note lines interrupted briefly with groupings like the ones from this Carl Fontana improvisation.

Dividing the pulse into three or triplets provides another opportunity for cross rhythms. Any number of combinations occur. In the solo. Any combination of triplets divided evenly or unevenly in relationship to the pulse may be found in jazz improvisations.

It is related to the rhythm in ex. Chapter 2 Rhythm in Jazz Performance 33 2. Grouping the eighths into four note groupings takes the syncopation over the measure line into the next measure.

It may be wickedly difficult to try to read figures like this but once heard. A common misconception is that all syncopation is hemiola. Ordering those eighth notes 4 into groups of three can create the cross rhythms and syncopated polyrhythms. In order to create the rhythmic dissonance and cross rhythms with triplets. Freddie Hubbard. When the pulse is subdivided into triplets. Evans suggested 6 4 8 meter as in ex.

In mm. This idea was used frequently in Baroque music. Later in the same solo. View From the Bridge B 13 9 3 4 Mozart: Piano Sonata in G major. In ex. Chapter 2 Rhythm in Jazz Performance 35 larly at cadential points.

Hancock began with the rhythm shown in ex. The accents shown above mm. In 3 meter. Hancock accented two then three sixteenth notes and managed to come out. What changed was the other 8 rhythmic parts which alternately suggested 12 or the 4 meter. When the snare entered it played on two 8 4 and four of the 4 meter.

A fast waltz can transform itself into a slower medium swing by something called metric modulation. The ride pattern shown in 12 began the piece and remained constant. In order to get back to 3. Two measures of the 3 becomes one 4 measure of the 4. At the beginning of a new section or new eight bar phrase. Combinations 4 4 of two and three note groupings create interesting cross rhythms. Chapter 2 Rhythm in Jazz Performance 37 2.

Less can be more. He did play four quarters in a row later in the first chorus. If played with sensitivity. Other polyrhythms may be implied that correspond or contradict the metric implications of the tune and the soloist.

The clave is the reverse of the A good way to get the feel of the clave beat is to play the clave beat with one hand.

The 3 and 2 do not refer to groupings of eighth notes. The clave beat and its variations are extremely significant to the structure of some Latin music. These patterns can be found in ex.. The clave may not be as structurally significant as it is in some Latin music. There are two basic clave beats clave and a clave and then several variations. Here is the first eight measure phrase with some of the polyrhythmic implications indicated by the smaller notes above the staff.

Try reversing the hands and alternating four measure phrases after a few times.. Playing in the holes. The clave has three notes played in the first measure and two in the second. Jazz Theory Resources..

Bert Ligon Outlines 1

One or more of the notes may be shifted forward or backward by an eighth note. As with the original version. J The clave is a structural building block of many Latin styles of music. Charlie Parker used the variation b several times on Moose the Mooch. Chapter 2 Rhythm in Jazz Performance 39 2. Chameleon may not look like the same rhythm as it is written with sixteenths and eighths rather than eighths and quarters.

This is more a reflection of their complexity and intricacy rather than any lack of musical merit. Herbie Hancock. The following is an example of a mixed meter piece.. The piece floats on an ostinato moving from 3 to 4 to 2. Hank Levy.. The ostinato could have 4 4 4 been written in 9 but the mixed meter notation assists visualizing the metric subdivision.

As odd as these me4 8 8 16 8 ters seem Syncopation is not confined to a predetermined grouping or mixed meter. The piece shifts 4 3 from this ostinato to other meters including: Few of these compositions work their way into the mainstream of jazz literature and are rarely called casually at jam sessions. What has endured more than the practice of improvising in mixed meters is the practice of playing in 3 4 and 4 which allows the soloist and the rhythm section the freedom to imply all combinations of mixed 4 meters over the top.

John McLaughlin. The 4 measure is much like a jazz waltz with an extra two beat answer. Some jazz compositions are created using a variety of meters within phrases. The beginning student. Possibly a drummer will suggest the dotted quarter pulse over the quarter note. It makes the things of Earth dim in comparison. One of these items ships sooner than kntra other.

Springer writes in the preface: Shopbop Designer Fashion Brands. Much of it seems rather strange, but the Bible says in I Corinthians 2: Please try again later. site Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Share your thoughts with other customers. A dream of heaven Snippet view — I have given multiple copies of this book away to those who are walking through the juros of grief due to the loss of a loved one.

By using this site, you agree to the Terms of Use and Privacy Policy. He just finished it the other day and has been so comforted by what he murps. I read this book years ago and just re-read it with my husband. It's why he used so many inversions: Very cool stuff. Originally Posted by JonnyPac. Thanks, Paul.

I really think form top down. I rely on my bass player all the time nowadays. I can't even play a solo gig! I'm the oppositeI play alone and am not used to playing with groups.

Whenever I've been asked to sit in with them, I've done fine, which pleases me. I do play along with recordingsBiaB, Aebersolds, actual records--but usually I play alone and always think of everything from the standpoint of a solo performance. Which is one reason I still do some Freddie Green-style comping because it's good for singing over.

Somehow I believe this will all make me a better person and some day a beautiful woman will fall for me It's all good I can't believe how well your post describes my own situation. Join Date Jan Posts 4, Great posts I dig reading Just found this thread and am beginning to work on it. Very inspiring and interesting. New doors open at unexpected places. Thanks JP! Join Date Jun Posts 1, Check this out: Lot's of info here.

Yes, I view this as a primary goal, one that arrives as a fully mature player who has thoroughy absorbed theory, harmony, counterpoint, inversions, voicings etc and has a developed sense of ear training, hopefully bordering on "dumbo" proportions. And what emerges from all that training? My teacher has comped for MANY of the all-time great singers in jazz and popular music, and his theory of comping is to create effective counter melodies that go well with what is being sung.

As he has said, "if you play like you sing, you can not go wrong". Originally Posted by whiskey Part 3: I don't know how the ladies can resist me

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