Jazz Theory 004

SYNCOPATION
Figure 2.1 illustrates the distribution of metric accents within a 4/4

measure.
Beats 1 and 3 in 4/4 time are hierarchically more important that beats 2
and 4. The former are known as strong beats and receive strong metric
accents. Beats 2 and 4 are called weak beats and are hierarchically
subordinate to beats 1 and 3. One of the characteristics of jazz rhythm is
a shift of accents from 1 and 3 to 2 and 4. These dynamic (or
phenomenal) accents create a rich and compelling dialog with the
metrical accent on beat 1. By placing the dynamic accents on beats 2 and
4, jazz gets its own rhythmic identity. In addition, these accents help to
create a characteristic disagreement between rhythm and meter. In jazz,
rhythm seems to work against the underlying meter and that seeming
disagreement influences the perception of time. The most immediate
consequence of such a disagreement is the effect of syncopation;
syncopation enhances the excitement of the music by distributing
rhythmic figures and accents on unexpected locations within the
measure. It also creates a variety of rhythmic conflicts that interact with
the flow of regularly occurring metrical or phenomenal accents. Figure 2.2
illustrates a melodic line with a highly syncopated rhythmic design.
SWING
The term “swing” has multiple meanings and associations. Sometimes it
refers to a specific musical style from the 1930s called Swing. It may also
refer to a performance practice tradition or a specific rhythmic attribute
attached to the quality of 8th notes. The term swing 8th notes is used to
indicate 8th notes that are performed unevenly with an overall rolling
(swinging) time feel. Because the exact notation of swing 8th notes is
neither possible nor very practical, regular 8th notes will be used with the
indication “swing” written in the top left corner of the score to denote
swing 8th notes.
PRACTICING RHYTHM
Not only is playing with a good sense of rhythm and time essential to
performance, but it is also crucial to successful practicing. When
practicing improvisation, a variety of idiomatic rhythmic figures should be
used. These should be played with rhythmic integrity, convincing
phrasing, and good articulation. Figure 2.3 provides a selection of one-,
two-, four-, and eight-bar phrases with idiomatic jazz rhythms that can be
implemented in daily practice.
In notating 4/4 time, remember to keep beat 3 “visible”; avoid rhythmic
groupings that obscure or de-emphasize beat 3. Figure 2.4 illustrates an
incorrectly notated rhythm and its corrected version.
Rhythmic integrity relates to the way swing 8th notes are performed and
placed within the beat. Broadly speaking, continuous swing 8ths are
played as if notated as triplet 8ths. The first two triplets are tied (to
become a quarter note) and the third one receives a slight dynamic
accent. Figure 2.5 demonstrates this approximate notation of swing 8th
notes.
Placement of Swing 8ths
Another important consideration regarding the quality of swing 8th notes

relates to their placement within the beat. Swing 8ths can be placed in
three different locations: behind the beat, in the middle of the beat,
and in front of the beat. There is a huge rhetorical and perceptual
difference between these locations. Their exact placement depends, in
large part, on the overall tempo of the performance and the rhythmic
tendencies of different jazz artists. Slow and medium-slow tempi tend to
use more “behind the beat” note placements, medium-up and faster tempi lend
themselves to a “middle of the beat” or “in front of the beat”
treatment. Certain jazz artists show such a strong propensity toward the
particular note placement, that their names have been identified with the
specific performance practice technique. For instance, the great tenor
saxophone player, Ben Webster, made wonderful use of “behind the
beat” playing. His many recordings convey a relaxed, laid-back, and
highly original time feel.2 The guitar player active in the late 1930s,
Charlie Christian, on the other hand, preferred to play in the “middle of
the beat,” and his constant swing 8th notes were perfectly located in the
center of the beat.3 A jazz icon from the Post-Bop Era, the alto
saxophonist Cannonball Adderley, preferred his swing 8th notes slightly
“in front of the beat” to energize the music with rhythmic excitement and
vitality.4
Phrasing
The use of dynamics, legato, and especially articulation can substantially
improve the overall presentation of melodic lines. Generally, the use of
dynamics should roughly follow the contour of the melodic lines. Rising
lines are typically played with a slight crescendo and descending lines
with a slight diminuendo. Additionally, melodic lines should be played
almost legato with barely perceptible note detachment. Carefully
distributed articulations (dynamic accents, staccato, tenuto, marcato,
etc.) are also an essential component of phrasing. When listening to the
phrasing of the great players Wynton Kelly, Kenny Dorham, Hank Mobley,
Clifford Brown, Tommy Flanagan, Lee Morgan, Sonny Rollins, Sonny Stitt,
Dexter Gordon, Woody Shaw, Grant Green, Joe Henderson, Freddie
Hubbard, Jackie McLean, Blue Mitchell, Barry Harris, and others, notice
that their excellent use of articulation not only creates a strong sense of
swing, but it also defines their individual styles of improvisation.5 The
highest note within a phrase typically receives a stronger accent
regardless of its position within the measure. Also, upbeats tend to be more
accentuated within a phrase than downbeats. There are, however,
many exceptions to these rules that will be addressed as the book
unfolds.

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SYNCOPATION

Figure 2.1 illustrates the distribution of metric accents within a 4/4

Placement of Swing 8ths

Another important consideration regarding the quality of swing 8th notes

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