tips & tricks for the rhythmically & harmonically-challenged
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Jazz Up Your Rhythms – Rhythmically Rephrasing Melody Lines
Jun 11th
This time around I would like to tackle one of the more important elements in playing a jazz tune, that is, to rhythmically rephrase an existing melody.
If you play from lead sheets, you will often notice that the melody line to a number of jazz standards usually consists of quarter and half notes, e.g. Autumn Leaves. This is because these lead sheets were mainly conceived for the singer, who is given the basic shape of the melody, without constraining how the singer would like to phrase the line. Likewise, other instrumentalists are free to explore the rhythms and contours of the melody.
This is how Autumn Leaves sounds without any rhythmic enhancement:
Autumn-Leaves-(original-lead-line)
When we start interpreting the piece, especially in swing style, we need to “jazz up” the rhythmic aspect of the melody. The most basic approach to this would be to apply anticipations and delayed attacks. [For a thorough discourse on anticipations, please go to my previous posts here and here.]
A delayed attack (DA) is just the opposite of an anticipation. Instead of pushing the beat ahead, you pull back, according to the rhythmic feel of the song, i.e. in 8ths or 16ths, straight or rolled, or even laying back as long as a quarter note sometimes.
With that in mind, let’s jazz up the melody of Autumn Leaves!
Take note of the analyses — how I mix the bag up by using anticipations and delayed attacks, and also shortening or holding on to notes.
On this first take, I maintain the 4-to-the-bar left hand comping pattern as in the earlier example, so you can hear how the melody line now differs with the application of a few rhythmic tweaks here and there 
On the second take, I play a simple walking bass line in my left hand, while playing the melody and light chord-comping in my right.
Autumn-Leaves-(rhythmic-lead-performance)Rhythmically rephrasing melody lines is an essential part of interpreting jazz. Remember you don’t have to constantly anticipate or delay the attack of a note — as the example shows, some notes are played as is while others get rhythmically modified. Sometimes singing or vocalizing the melody helps us make the phrasing of the line much smoother and less mechanical. Give it a try!
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Harmonic Rhythm – The Natural Flow of Chord Changes
Mar 18th
Hmm…the blog post title sounds like a mashup of my two favorite musical elements! Well, it is…but leaning more towards the rhythmic aspects of when and where chords move. In other words, harmonic rhythm refers to the rate of chord change or how often one chord progresses to another.
Most songs or compositions are written in a form in which the total number of bars is divisible by two. Hence, we naturally tend to hear and feel music in 2-bar phrases. For example, a standard 32-bar song form can be thought of as a structure of four sections with eight bars each. Refer to the lead sheet of “Autumn Leaves below”:
This torch song has a classic A-A-B-C form, where each letter represents an 8-bar phrase. Within this 8-bar phrase, we can further subdivide it into a 4-bar phrase and then a 2-bar unit. The odd-numbered bars within each 8-bar phrase, i.e. Bars 1, 3, 5 & 7, are considered strong bars while the even-numbered ones, i.e. Bars 2, 4, 6 & 8, are considered weak bars, hence, forming a “Strong-Weak, Strong-Weak, Strong-Weak, Strong-Weak” dichotomy within the 8-bar musical phrase. This means that a chord on a weak bar will always have a natural pull back to a strong bar, or a tendency to move towards or resolve into a chord in the strong bar.
This is why it is common to see II-V-I progressions that fall on a 4-bar “Strong-Weak-Strong-Weak” phrase. Chords I and II are commonly found on odd-numbered or strong bars, while the V7 chord with its natural need to resolve is usually found on the weak bars.
Examples from “Autumn Leaves” are the following progressions: Ami7/// D7/// Gma7/// //// and F#mi7(b5)/// B7/// Emi/// ////. You will also notice the duration of each chord before it changes, i.e. Chords II and V have the exact same number of beats (4 beats each) while Chord I usually has twice as many (8 beats).
This principle also holds true when the phrase breaks down to a basic 2-bar unit. A II-V-I progression within a 2-bar phrase usually sees Chords II and V getting two beats each while Chord I lasts for four beats. Within a 2-bar phrase, Beats 1 and 5 are the strong beats, while Beats 3 and 7 are the weak beats. Refer to the lead sheet of “Blue Moon” above.
Two-bar phrase examples from “Blue Moon” are the following progressions: Fmi7/ Bb7/ Eb/// in Line 5 and Abmi7/Db7/ Gb/// in Line 6. You will also notice the duration of each chord before it changes, i.e. Chords II and V have the exact same number of beats (2 beats each) while Chord I usually has twice as many (4 beats).
This applies to all contemporary music. It is common for chords to change every two beats within a 4/4 bar or measure, or sometimes a chord may last for a whole bar or two. Refer to Daniel Powter’s “Bad Day” below:
The 2-bar phrase with its harmonic rhythm is consistent with the “Strong-Weak” concept that we have been discussing, i.e., Eb5/Absus2/ Bbsus///, the chords on Beats 1 & 3 last for two beats each, while on Beats 5, the chord duration is twice as long, four beats.
For music in 3/4 time, it is very common to see a chord lasting for a whole bar, or if there are two chords, they will always be placed on Beat 1 and Beat 3. Refer to Miles Davis’ version of’ “Someday My Prince Will Come” above:
The whole piece has only chord changes on every first beat of the bar, except for one. Look at the last line: the first chord Cmi7 on F bass lasts for two beats and changes to F7 on Beat 3. Also check out this classic A-B-A-C form in terms of its harmonic rhythm. The “Strong-Weak” principle is strictly adhered to.
Occasionally, you will come across some pieces that break this “Strong-Weak” rule of harmonic rhythm. However, this does not happen consistently and eventually “rights” itself along the way. For example, take a look at the very popular “Fly Me to the Moon” below:
The progressions: Ami7/// Dmi7/// G7/// Cma7/ C7/ and Fma7///Bmi7(5)///E7///Ami7/A7/. The G7 and E7 chords in both these 4-bar phrases are definitely prominently on the strong bars while the resolution chords Cma7 and Ami7, respectively, are on the weak bars. Furthermore, both dominant 7th chords occupy four beats to their counterparts’ two – truly a reverse of what we have learned. These are occasional exceptions to the rule.
You will notice that eventually at the close of the 4-bar phrase, the C7 (on the weak bar and beat) does resolve to the FMa7 on the strong bar, and so does the A7 to the Dmi7. The following next two four-bar phrases “right” themselves by employing the natural harmonic rhythms: Dmi7/// G7/// Cma7/// Emi7/ A7/ and Dmi7/// G7/// Cma7/// Bmi7(b5)/ E7/.
So make the most of this knowledge that you have about harmonic rhythms and ensure that your chord changes fall on the correct places within the bar!
(All music sheets used here are only for educational purposes.)
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Understanding Rhythmic Feels
Dec 10th
One good thing about playing classical music is there is never any confusion about how to play an eighth note (or quaver). An eighth note is an eighth note is an eighth note, right? Well, yes…and no.
Rhythmic Feel: What is it?
In pop and jazz music, it’s very important to determine the correct interpretation of the eighth and sixteenth note (or semiquaver) before you start playing a song. What do I mean by that?
Have you ever come across any one of the following terms/symbols when you looked at a piece of music: “Play in swing 8ths,” “Bounce feel,” “Rock Shuffle,” or ““? It’s usually found on the top left hand side of the song, just before the start of the first line of music. These terms/symbols are actually referring to the feel of the music, i.e. how to interpret the eighth note, because they are definitely not to be played as written or in the conventional way.
The most common eighth and sixteenth note feels in pop and jazz music are the straight, triplet and rolled feels.
Straight Feel
Quite often, we see the quarter note beat being subdivided in twos and fours. When that happens in 4/4 time, we get a row of eight eighth notes and sixteen 16th notes, respectively. The straight 8th and 16th feels are how we term the conventional way we interpret the eighth and sixteenth notes, respectively. Play the notes as written and as traditionally learned.
Triplet Feel
The quarter note can also be subdivided into three parts. When that happens in 4/4 time, there will be 12 eighth notes and 24 sixteenth notes, respectively.
Rolled Feel
This feel is known by other names such as swing, bounce, shuffle and uneven eighths. Regardless of how it’s called they all refer to the same thing, i.e. the first eighth note of a pair of eighth notes gets two-thirds of the beat. Another way to look at this is by looking at the previous triplet feel and only playing on the downbeats and all the “a”, leaving out all the “e.”
Often, in printed music, the rolled 8th feel is represented in straight 8ths but with additional indication of how the eighth note is to be played. Generally, this method is employed to make the music easier to read.
As with the rolled 8th feel, the rolled 16th is also commonly represented in straight 16ths in printed music but with additional indication of how the sixteenth note is to be played. Again, this method is favored to make the music much easier to read, which in the case of a row of sixteenths makes a lot of sense!
Drum Rhythms in Various Feels
Now listen to some drum patterns that will correspond to all the above feels.
Straight-8th-Pop/Rock Straight-16th-R&B Triplet-8th-Ballad Triplet-16th-Hip-Hop[Note: Musically, an entire drum rhythm of triplet 16ths is not very common. However, this particular example here starts with a row of triplet 16th hi-hat patterns before launching into mainly a rolled 16th feel.]
Rolled-8th-Blues-Shuffle Rolled-16th-Hip-HopSo before approaching any piece of contemporary music, make sure you determine the feel first. As you can see, all these feels are unique and different from each other. The proper feel sets the groove and mood of a particular song or style of music.
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Handling Rhythmic Anticipations Part 2
Nov 20th
Applying Anticipations to a Song: Anticipating Beats 1 & 3
Let’s take a look at a very simple melody — “Twinkle Twinkle Little Star.”
The rhythmic time-values consist of quarter and half notes (or crotchets and minims). Now, in order to make the passage sound more exciting, we need to push the beat here and there, i.e. apply anticipations to some of the downbeats.
Let’s start with applying anticipations on beats 1 and 3 followed by ties. Listen to how the downbeats on 1 and 3 are being pushed forward, adding motion to the otherwise staid rhythms of the original melody. (I’ve included a drum track so that you can hear where the beats are being pushed.)
The next example shows the same anticipated rhythms. However, this time these are followed by rests. There is still a sense of forward motion accompanied by a more intense punctuation due to the shorter durations.
Now, let’s combine these two examples, i.e. a mix of beat 1 and 3 anticipations with ties and rests. Notice doing this gives a smoother and more natural feel to the overall phrase — not as draggy as the tied version, or too staccato-ish as the one with the rests.
Applying Anticipations to a Song: Anticipating Beats 2 & 4
Compare the effect of the previous anticipated phrases on beats 1 & 3 with the following ones on beats 2 & 4, starting with the tied version, then the one with rests. These definitely sound more lively than the original, but comparatively they do not possess the extra excitement or sense of urgency of the beats 1 & 3 anticipations.
Twinkle-Melody-Anticipating-Beats-2&4/rests
Applying Anticipations to a Song: The Musical Version
Finally, in order to create a musically and rhythmically coherent phrase, we do not necessarily have to anticipate each and every beat of the melody — some beats may remain as they are. Also, although beats 1 & 3 anticipations are preferred over beats 2 & 4, a mixture of both sets done tastefully will also enhance the rhythm of the melody.
Now, check out this simple arrangement!
Twinkle-Melody-Anticipated-Simple-ArrangementHopefully, from these examples, you will fully understand the importance of applying anticipations to musical phrases. In order to execute these anticipated rhythms accurately, you have to remember to maintain a steady tempo. There should never be any hesitation, dropping a beat, or rushing through the rhythm!
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Handling Rhythmic Anticipations
Oct 1st
Anticipation: What is it?
One of the most common stumbling blocks of rhythmic playing is the anticipation. An anticipation is a note (of any time-value) that is brought forward or played earlier, followed by either a tie or a rest. When an anticipation occurs it creates a feeling of forward motion, urgency and excitement. However, when played wrongly, an anticipated note sounds rushed.
How it works
An easy way to understand anticipation is as follows. Think of a row of quarter notes or crotchets in a bar of 4/4 time. All four notes here are played on the downbeats or the main beats; there are no anticipated rhythms. Note the accents (extra emphasis) on beats 2 and 4.
Now, let’s anticipate Beat 3 of the bar, or the third F note. This example shows the note on Beat 3 being brought forward by half a beat, and tied over the rest of Beat 3. Note the accent now falls on the anticipated beat “and-of-2″ while beat 4 still retains its original accent. 
Anticipation/tie
The second example is the same, except Beat 3 itself is now a rest. When an anticipated note is followed by a rest, it gives an extra kick to the overall effect — enhanced by the accent on the anticipated beat “and-of-2″. 
Anticipation/rest
In this next example, Beat 3 is not anticipated as it is still sounded on the third beat itself. In this case, there is only an extra rhythmic time-value to Beat 2, or the original quarter note has been split into two eighth notes adding more motion to the rhythm. Note the accents are back on beats 2 and 4.
Getting Anticipations Right!
This is how you practice all rhythmic passages. Always make sure you maintain a steady downbeat — I personally like using the heel of the right foot. Place your heel down as you count each main downbeat. Instinctively, you will notice that as you lift your heel it hits the upbeat between the main beats, and this upbeat is commonly counted as “and,” represented by the symbol “+.”
Train yourself to internalize the downbeats, feel them each and every time your heel hits the floor. For a start, count out loud the pulse of the measure. In the examples above, the pulse is represented by the smallest re-occuring time-value in the measure, which is the eighth note. Hence, begin counting 1+2+3+4+ (one-and-two-and-three-and-four-and) as your heel digs in on the main beats.
When you are ready, use one of your hands to tap the top of a table (or any stable surface), or the side of your thigh. (You can clap too, but make sure one hand is held stationary while the other taps on it — unlike when you are applauding where both hands are brought together — to ensure you get a steady rhythm.)
As you are counting the pulse and feeling the main beats, tap the first example. This will coincide exactly with your heel movement. For the anticipated examples, do the same thing, but this time instead of tapping on downbeat 3 together with your heel, tap on the and-of-2 as you are counting out loud. If you do this correctly and without rushing the timing, you will feel a sudden urgency in the rhythm.
Listen to the anticipated examples, then try tapping along to get the overall feel of how this rhythmic manipulation should sound.
When does an anticipation occur?
Anticipations of Beats 1 and 3 are very common, although technically any beat of the bar can be anticipated.
Play through and listen to the following examples:
Compare the above with the following anticipations of Beats 2 and 4.
To me, anticipating Beats 1 and/or 3 sounds more compelling, much more exciting, has a cooler feel than the latter. How so? I’ll explain and demonstrate in my next post.
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