The Jazz Rhythm and Articulation Workbook - Daniel Fedele PDF [PDF]

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Contents 1 Introduction to jazz rhythm and articulation 4 Jazz language: syncopation 5 Jazz language: articulations 6 Jazz language: phrasing 7 Basic syncopated rhythmic patterns -model8 Basic syncopated rhythmic patterns -template9 Syncopated rhythmic patterns: how to study 10 Syncopated rhythmic pattern 1 -model11 Syncopated rhythmic pattern 1 -template12 Scales study with syncopated rhythmic pattern 1 13 Syncopated rhythmic pattern 2 -model14 Syncopated rhythmic pattern 2 -template15 Scales study with syncopated rhythmic pattern 2 16 Syncopated rhythmic pattern 3 -model17 Syncopated rhythmic pattern 3 -template18 Scales study with syncopated rhythmic pattern 3 19 Syncopated rhythmic pattern 4 -model20 Syncopated rhythmic pattern 4 -template21 Scales study with syncopated rhythmic pattern 4 22 Syncopated rhythmic pattern 5 -model23 Syncopated rhythmic pattern 5 -template24 Scales study with syncopated rhythmic pattern 5 25 Syncopated rhythmic pattern 6 -model26 Syncopated rhythmic pattern 6 -template27 Scales study with syncopated rhythmic pattern 6 28 Basic syncopated rhythmic patterns combinations 1-6 -model29 Basic syncopated rhythmic patterns combinations 1-6 -template30 Basic syncopated rhythmic patterns combinations 6-1 -model31 Basic syncopated rhythmic patterns combinations 6-1 -model32 Basic syncopated rhythmic patterns combinations I -model34 Basic syncopated rhythmic patterns combinations I -template36 Scales study with combinations of syncopated rhythmic patterns I

38 Basic syncopated rhythmic patterns combinations II -model40 Basic syncopated rhythmic patterns combinations II -template42 Scales study with combinations of syncopated rhythmic patterns II 44 Basic syncopated rhythmic patterns combinations III -model46 Basic syncopated rhythmic patterns combinations III -template48 Scales study with combinations of syncopated rhythmic patterns III 50 Basic syncopated rhythmic patterns combinations IV -model52 Basic syncopated rhythmic patterns combinations IV -template54 Scales study with combinations of syncopated rhythmic patterns IV 56 Basic syncopated rhythmic patterns combinations V -model58 Basic syncopated rhythmic patterns combinations V -template60 Scales study with combinations of syncopated rhythmic patterns V 62 Basic syncopated rhythmic patterns combinations VI -model64 Basic syncopated rhythmic patterns combinations VI -template66 Scales study with combinations of syncopated rhythmic patterns VI 68 Basic syncopated rhythmic patterns combinations with the major scale 69 Basic syncopated rhythmic patterns combinations with melodic patterns of the major scale 70 Basic syncopated rhythmic patterns combinations with the mixolydian scale 71 Basic syncopated rhythmic patterns combinations with the dorian scale 72 Basic syncopated rhythmic patterns combinations with the major (blues) pentatonic scale 73 Basic syncopated rhythmic patterns combinations with the minor (blues) pentatonic scale 74 Rhythm and articulation exercises with the major scale 75 Scales study with syncopated rhythmic pattern and articulations 76 Scales study in relation to the beat 77 Scales study with swing 78 Jazz language: ghost notes 79 Major scale study with rhythmic displacement 80 Pentatonic scales with rhythmic displacement 81 Bebop scales with rhythmic displacement 82 Rhythmic reading of the jazz standard melodic line 83 Interpretation of the jazz standard melody: Blues For Alice 84 Rhythmic transformation of the jazz standard: All The Things You Are 85 Rhythmic transformation of the jazz standard melody: All The Things You Are 86 Rhythmic transformation of the jazz standard melody: Autumn Leaves 87 Basic syncopated rhythmic patterns in jazz standards melodies

88 Major II-V-I: syncopated rhythmic patterns 89 Minor II-V-I: syncopated rhythmic patterns 90 Articulations variations 91 Articulations variations with the major scale 92 Syncopated rhythmic patterns with sixteenth notes -model93 Syncopated rhythmic patterns with sixteenth notes -template94 Scales study with sixteenth notes 95 Jazz language: rhythms 97 Notes I 98 Notes II

introduction to jazz rhythm and articulation

1/3

rhythm: a form of alternation of a series of elements that are repeated periodically in a determined interval of time.

1

bossa nova rhythm:

             2

           

pulse: basic unit of rhythm measurement.

 















3 beat: one part of a steady pulse.

                  normally, in 4/4, pulse and beat are the same. the pulse may also be the accented beat of a measure. 4

tempo: speed of the musical piece. q: 90 (90 quarter notes per minute).

5

measure/bar: organization of the beats in groups. time signature: 4/4: 4 quarter notes in each bar.



4/4 is the most used time signature in jazz because it´s not as closed as 2/4 and 3/4 and allows more rhythmic variations inside the bar.

      6

   

   

   

metric accent: emphasis on certain beats created by the natural meter and rhythm of the music. 1

2

3

4

     

   

   

   

strong / weak / semi-strong / weak

7

down beat: first beat of the bar. up beat: last beat of the bar. on beat: beats 1 and 3 of the bar. off beat: beats 2 and 4 of the bar. modern music styles stress beats 2 and 4 of the bar. down beat on beat on beat

1 2  3 4    a      

off beat

     

up beat off beat

2 3  4              1

b

-1-

introduction to jazz rhythm and articulation - 2/3 8 syncopation: note starting on the weak part of the bar or beat and extending over the strong part, producing a rhythmic displacement of the strong parts to the weak parts of the bar. syncopation                    

1

2

3

4

1

2

3

                 

4

syncopated rhythms come from the african american music and are one of the most important characteristics of jazz, harmony and melody come from the classical european music.



swing is the interpretation of the eighth notes with a triplet, where the first two eighth notes are tied and the third eighth note is accentuated on a place not exactly defined that depends on the interpreter. swing is played with a triplet feel.

9

      

     

a

du daht

swing feel: 3

       

b

 syncopation    

    

du daht

du dah

du dah

3    

3     

3     

in music, articulation means giving a different intention to each note, in duration as well as in intensity, and how to relate each note to the next note or group of notes. over one note there may be a dynamic accent (attack and volume), over a group of notes there may be an interruption or continuity between them.

10

tenuto

    du





staccato

horizontal accent

vertical accent









duht





dah



vertical accent with staccato



daht







dot

different combinations of articulations determine different rhythmic perceptions.

                                       rhythmic perception:

  





  

 

  

    

  -2-

introduction to jazz rhythm and articulation - 3/3 11

phrasing is the grouping of the elements in different places of the bar. forward motion is the rhythmic perception obtained grouping elements in an arch that goes from the weak parts of the bar to the strong parts of the bar.

                     

12

the interpreter can accelerate or delay the interpretation in relation to the beat. ahead of the beat

on the beat

behind the beat

                 1

13

2

3

4

1

2

3





4

ghost notes are suggested notes, with rhythmic value and undetermined pitch. ghost note



 

       dud-n du daht

14

         

           

dud-n dud-n du

dud-n dud-n dud-n du

dynamics are variations of the volume of each note and of the melodic line. mf

pp mp

f

          dahd-n mf

15





du daht





f

the intention with which each note is played determines the authentic jazz sound.

            mp

                      f

mp

f

 mp -3-

jazz language : syncopation 

syncopation: note starting on the weak part of the bar or beat and extending over the strong part, producing a rhythmic displacement of the strong parts to the weak parts of the bar or beat.

a

1

2

3

4

 44     

syncopation

     



strong / weak / semi-strong / weak

1 a  44    

weak

b



syncopation



 





weak

syncopation

     





























weak

2 a  44    

b





syncopation

     weak

3 a  44      

syncopation

b



        weak

4 a  44   

b

  



syncopation syncopation

        weak

5 a  44  

b

  



weak

weak

syncopation

  



weak

triplet a

6 3  44     

  



b



syncopation

3      



weak weak

-4-

jazz language: articulations 

in music, articulation means to give a different intention in duration and intensity to each note and how to relate it to the next note or group of notes. over the same note we talk about accent and volume, and over a group of notes, of interruption or continuity among them.

1

types of articulations tenuto

staccato

vertical accent

vertical accent with staccato

legato tongue hold full value

light accent hold half value

heavy accent

heavy accent short as possible

  







du

       du

du

du



 

 

hold less than full value











duht

daht

dot



   

       

       

du

duht duht duht duht

daht daht daht daht

dot

dot

dot

dot

horizontal accent

ghost note

breath articulation legato

portato

heavy accent hold note full value

attack with half tongue or less definition of pitch

no tongue, diaphragm push

legato-staccato combination emphasizing each note

     dah

2 

     dud-n du duh

huh

huh

       

du du du du

du

legato and staccato combinations and their rhythmic perception 1

 



  5

    

 

  

2

  

rhythmic perception:



     

connected notes

 

6





             

3

                    



4

7



     

 



8



    

 

            -5-

jazz language: phrasing An effective way of organizing the melodic phrasing and generate forward motion is to start playing on the weak bars and finish on the strong bars. This way the phrasing accompanies the instability of the dominant chords on weak bars and the stability of the tonic chords on strong bars.

1

melodic activity

  

weak bar

strong bar







































release

weak bar

 example:

weak bar

strong bar



















melodic activity

 

   



tension



 

2



tension

strong bar

 



weak bar

strong bar









    





   

release

     



Using the same concept we can start playing on the weak part of the bar and finish on the strong part of the next bar.

melodic activity

 

strong

weak







tension





strong

weak









weak





strong









release

 example: melodic activity

 

                    

tension

release

-6-

basic syncopated rhythmic patterns  fundamentals: down beat on beat on beat        44     

up beat off beat off beat                

daht

daht

1 a   44      daht

swing:

3

 44      2 a  44      du daht 3     44     

3 a  44      

    daht

3

    

        dah

3

       b

   

      du dah

 3    



dah

3

    



   



 3    



    



     







b

    

       du du du dah b

     

       

du duht daht

du

    

du dah

3       

du du du daht

4 a   44     

syncopation

b

du daht

swing:

5 a  44  

    

du duht dah b

  



daht

  

triplets

6 a 3  4       4 du du daht

   du

   dah

  

b

     3

du du daht

3      

du du dah

    



3

du du dah -7-

basic syncopated rhythmic patterns  fundamentals:

 44 

 

 











   



daht

1 a  44 

 

 











daht b

syncopation

 

 

 







 

 

 







swing:

 44  2 a  44 

b

 

 

 







 

 

 







swing:

 44  3 a  44 

b



4 a  

 



b



5 a   6 a  44 





 



b





triplets

 



b



 

 



 -8-

syncopated rhythmic patterns: how to study A

feel the rhythm:

1 off beats feel    a     44     

syncopation 

                    

b

2 triplets feel b

 44              3

3

3

syncopation

         

a



3

















3

3

3 swing triplets feel a

3 3 3 3                     

3 3          



4 4

B

syncopation

b

to facilitate the reading, divide each bar in two half notes:







a

b

 44      



      

du du du daht





du du du dah





a

   44        du duht du du duht daht



b



            du duht dah

duht daht

-9-

syncopated rhythmic pattern 1 1

a

b

      4 4

daht

     daht

syncopation

        dah

     



dah

swing: 3

      4 4

2

    

        

a

   4 4

3

    



       

b

  



a

   4 4

3

      

b

     

4

    

a

4 4

3

3

     

   



    

b

    

                  

-10-

syncopated rhythmic pattern 1 1

a

b

 44  

 



 

  

 

  

syncopation













swing:

  

3

4 4

2

3

 

a

4

 







   



 

 

b









a

   4 4



a

 44  

3

b

 44   

3



3

   









b

 



 

     

    

-11-

scales study with syncopated rhythmic pattern 1 1

c major scale

 

       

 

play ascending and descending in all keys

syncopation

    



               

    



    

      

          

syncopation



  



    

4 c major blues pentatonic scale          



          

      

   

    

    

3 c dorian bebop scale

 

    

basic syncopated rhythmic pattern 1

    

2 c mixolydian bebop scale

syncopation

    

 

     

    

  



 

     

      

   

syncopation

                     

-12-

syncopated rhythmic pattern 2 1

a

b

        4 4

du daht

   

syncopation

     

du daht

du dah

   



du dah

swing: 3         

4 4

2

a

   

      

a

 44  

4

3       



     

b

  



a

 44  

 3    

b

 44     

3

 3    

     

  



   

b

   

               

-13-

syncopated rhythmic pattern 2 1

a

b

 44 

syncopation

 

 

 







 

 

 







swing:

  4 4

2

3

a

b

 44  

3





a





   



a

 44  

  

 



b

 44  

4







b







 

 

 



-14-

scales study with syncopated rhythmic pattern 2 play ascending and descending in all keys

1

c major scale

 

       

    

    

    

basic syncopated rhythmic pattern 2

syncopation

      

  

2 c major bebop scale 

       

 

syncopation

  



      

         





  

  

        

 



syncopation

  

 

          

           

    

syncopation

4 c minor blues pentatonic scale 

    

    

3 c phrygian scale

 







   

       

    

         

 

        

      

   



 -15-

syncopated rhythmic pattern 3 1

a

b

44      

    

syncopation

       

du du du daht

      

du du du dah

swing: 3 3            

4 4

2 a 44  

 3   3    

3    3       

 3   3      

b

    

                  

-16-

syncopated rhythmic pattern 3 1

a

b

44 

syncopation





 



 





 



 

swing:

  4 4

2 a 44  

3

b



 







-17-

scales study with syncopated rhythmic pattern 3 1

c major scale

 

play ascending and descending in all keys

      

    

       

     

basic syncopated rhythmic pattern 3

      

      

2 c minor pentatonic scale syncopation                                 

             

3 c melodic minor scale 

        

 

    



      

4 c major pentatonic scale   

              



             

     

   

      

syncopation

                     

                          

-18-

syncopated rhythmic pattern 4

1 a     44      du duht daht

b

     

syncopated

         du duht dah

       

swing: 3

3

    44       2

a

 44  

3

3

      

3

3

         

3

3

        

b

     

                     

-19-

syncopated rhythmic pattern 4

1 a  44 

b





 



 

syncopation

 



swing: 3

  4 4

2

3



3





a

 44  

3



3





 

b



 







-20-

scales study with syncopated rhythmic pattern 4 play ascending and descending in all keys

1

c major scale

 

       

      

      

         

      

       



     

4 c whole tone scale        

      

syncopation

3 c harmonic minor scale           

     

basic syncopated rhythmic pattern 4

2 c aeolian scale

       

      

     

             

       

             



     

      

            

         

                      syncopation

                              

-21-

syncopated rhythmic pattern 5 1

a

b

44   du

  



syncopation

  

      

     

  3   

    3    

  3     

daht

du

dah

swing: 3         

4 4

2

a

44  

b



  



              

-22-

syncopated rhythmic pattern 5 1

a

44 

b

syncopation





 



 





 



 

swing:

  2

a

44  

b



 







-23-

scales study with syncopated rhythmic pattern 5 1  

play ascending and descending in all keys

c major scale

       

  

   





    

  





  

syncopation

    

     



  

     

 

    



 



      





  

  



        

         

3 c half step-whole step diminished scale 

  



basic syncopated rhythmic pattern 5

2 c lydian augmented scale             

  





       

     

  

 



4 c diminished whole tone scale 

       

 

 



   

  

syncopation

                  

   

   



 -24-

syncopated rhythmic pattern 6  the triplet 1

syncopation

b

a

3         

 3  

4 4

3       

du du daht

2 a  44  

du du dah

3

        3     3  

du du daht

du du daht

3

du du dah

    

      

3

4 a   44      

du du dah

b

3

    

3



3

b

    

       

3

3

3

       3

b

   



3

6 a  44  

b

   

3 a   44      

5 a  44  

 3    

       3

    3



     3

b

     3

                   3

3

3

-25-

syncopated rhythmic pattern 6  the triplet 1

 

3



4 4



2 a  44  

3 a  44 

3

 

 



b

 









b

 

4 a  44  

 

 







b



5 a  44  

6 a  44  

syncopation

b

a





  





 





b



   



b







 

 

 

 -26-

scales study with syncopated rhythmic pattern 6 play ascending and descending in all keys

1

c major scale

 

       

        

     

    

     

3

3

        syncopation

                        3 3 3

3

3 c dorian bebop scale 

        

 

syncopation 3

  





   

3

     3

3        

4 c minor blues pentatonic scale          



3

         3

   

3

3

       3

    

          

3



3     

     3

3

2 c mixolydian bebop scale 

3    

3

basic syncopated rhythmic pattern 6

syncopation 3

    

      3

 

3



3      



         

                        3 3

3

3

syncopation

3

3

 -27-

basic syncopated rhythmic patterns combinations 1-6 1

1

2

   44     













syncopation

   44     

2

1

2

3

     44        













syncopation

     44        

3

1

2

3

4

  

  





      44          

  





    44         syncopation

4

1

2

3

4

5

  44          

  

 





       44            

 





syncopation

5

1

2

3

4

5

              4 4

6 3         



3

syncopation

       44            

  3      



3

-28-

basic syncopated rhythmic patterns combinations 1-6 1

1

2

 44

















syncopation

 44

2

1

2

3

 44













syncopation

 44

3

1

2

3

4













 44 syncopation

 44

4

1

2

3

4

5

 44









syncopation

 44

5

1

2

 44

3

4

5

6









syncopation

 44

-29-

basic syncopated rhythmic patterns combinations 6-1 1 2 1  44     













syncopation

   4      4

1 2 2 3  44        













syncopation

     4         4

3 4   44  

     

     





  44  

          





3

1

2

syncopation

4 5  44 

4

3

    

2

1

          





              





syncopation

  44 

5 5 6 3     44    

4

3

2

1

                



               



syncopation 3

    44    

-30-

basic syncopated rhythmic patterns combinations 6-1 1  44

2

1

















 syncopation

 44

2  44

3

1

2















syncopation

 44

3  44

4

1

3















syncopation

 44

4  44

5

4

3

2

1











syncopation

 44

5  44

6

5

4

3

2

1











syncopation

 44

-31-

basic syncopated rhythmic patterns combinations i 1/2

1

syncopated rhythmic patterns 1 + 1 a

1

b

1

44      



       



        

a













       



b

          4 4

a

b

     

44  



a

  

    

b

44  

2

syncopation

        

  

syncopated rhythmic patterns 1 + 2 a

b

1 2

44      



a

       













       



b

  44       



a

         b

44  

   



a

  

   

b

44  

3

syncopation

       

  

syncopated rhythmic patterns 1 + 3 a

b

1 3

44        



a

44  

syncopation

         





b

        

  

       

 -32-

basic syncopated rhythmic patterns combinations i -2/2

4

syncopated rhythmic patterns 1 + 4 a

b

1 4

   44       



a

          





         



b

44  

5

syncopation

         

  

syncopated rhythmic patterns 1 + 5 a

1

44  

b

5

  

 



a

 





    

  

  

  







3        



    

syncopated rhythmic patterns 1 + 6 a

a

  

syncopation

1 6

3            

4 4

4 4

  

b

44  

6

  

syncopation

b



3          

  

3        

b

  

-33-

basic syncopated rhythmic patterns combinations i 1/2

1

syncopated rhythmic patterns 1 + 1 a

1

44  

b

1







  



   

a















 















 







b

    4 4





a



b

44  







a

  



b

44  

2

syncopation

 



 

  

 

syncopated rhythmic patterns 1 + 2 a

b

1 2

44  





a

  



b

44   





a

   



b

44  





a

  



b

44  

3

syncopation

 

 

  

 

syncopated rhythmic patterns 1 + 3 a

b

1 3

44   



a

44  

syncopation

    b

 



  

 

 -34-

basic syncopated rhythmic patterns combinations i -2/2

4

syncopated rhythmic patterns 1 + 4 a

44   



a

   

























b

44  

5

syncopation

b

1 4

 



  

 

syncopated rhythmic patterns 1 + 5 a

1

44  





a

  



b

44  

6

syncopation

b

5

 



  

 

syncopated rhythmic patterns 1 + 6 a

1 6

    4 4

syncopation

b

3



a

44  

  



b

 



  

 

-35-

scales study with combinations of syncopated rhythmic patterns i

1/2

1

c major scale

 

    

         syncopation

b

2 

syncopated rhythmic patterns 1 + 1 a    

    

       

     

       

            

c major pentatonic scale syncopated rhythmic patterns 1 + 2 a  

      

         b

3

syncopation

     

       

    

      

     

      

c dorian bebop scale syncopated rhythmic patterns 1 + 3 a  

                                                                           b

syncopation

-36-

scales study with combinations of syncopated rhythmic patterns i - 2/2

4

c melodic minor scale

 

     

syncopated rhythmic patterns 1 + 4 a 

                             

                                        b

5

syncopation

c major blues pentatonic scale

       

b



        

             

       

syncopation

                 

     

6

syncopated rhythmic patterns 1 + 5 a 

 

c mixolydian b9 b13 scale

        

syncopated rhythmic patterns 1 + 6 a 3 

3                              3

syncopation

3  3 3                                       

b

3

-37-

basic syncopated rhythmic patterns combinations ii

1/2

1

syncopated rhythmic patterns 2 + 1 a 2

b

1

   44      



a













      



b

   44       



       



  

a

b

    

44   a

   

b

       

44  

2

syncopation

      

  

syncopated rhythmic patterns 2 + 2 a

2

b

2

   44       



a

       





      



b

      

44  

3

syncopation

  

syncopated rhythmic patterns 2 + 3 a

2

b

3

44        



a

44  

syncopation

        





       



b

       

  

-38-

basic syncopated rhythmic patterns combinations ii - 2/2

4

syncopated rhythmic patterns 2 + 4

a

2

b

4

    44       



a

         





        



b

        

44  

5

syncopation

  

syncopated rhythmic patterns 2 + 5

a

2

44  

b

5

  

 



a





   

  

  

  







3       



   

syncopated rhythmic patterns 2 + 6

a

2

6

a

  

b

3

        4 4

4 4

 

b

44  

6

  

syncopation

  



3          

  

syncopation

   3 

b

  

-39-

1/2

basic syncopated rhythmic patterns combinations ii

1

syncopated rhythmic patterns 2 + 1 a 2

b

1

44 







a

 















 



b

44  





a

  



b

44  



a

   b

44  

2

syncopation



 

  



syncopated rhythmic patterns 2 + 2 a

2

b

2

44  



   



a



 



b

44 

3

syncopation

 

 

 

 



 

syncopated rhythmic patterns 2 + 3 a

2

44  



a

44  

syncopation

b

3

  









b





  



-40-

basic syncopated rhythmic patterns combinations ii -2/2

4

syncopated rhythmic patterns 2 + 4 a

2

b

4

44  



a

  

























b

44  

5

syncopation





  



syncopated rhythmic patterns 2 + 5 a

2

44  



a

  

b

44  

6

syncopation

b

5





  



syncopated rhythmic patterns 2 + 6 a

2

6

   4 4

b

3



a

44  

syncopation 3

  

b





  



-41-

scales study with combinations of syncopated rhythmic patterns ii

1/2

1

c lydian

 

     

        syncopation

b

2

       

          syncopation

b

3

c locrian

    

      

c dorian



syncopated rhythmic patterns 2 + 1 a    

    

    

syncopated rhythmic patterns 2 + 2 a 



    

   

       

       

          

              

syncopated rhythmic patterns 2 + 3 a 

                                                                        b

syncopation

 -42-

scales study with combinations of syncopated rhythmic patterns ii - 2/2

4

c aeolian

 

        

syncopated rhythmic patterns 2 + 4 a 



               



                                             b

5 

syncopation

c mixolydian

        b

                      

        

syncopation

      

6

syncopated rhythmic patterns 2 + 5 a  

      

      

 

c lydian augmented

      

syncopated rhythmic patterns 2 + 6 3 a 



                 3

3         

3 3    3                                  

b

syncopation 3

-43-

basic syncopated rhythmic patterns combinations iii 1/2

1

syncopated rhythmic patterns 3 + 1 a 3

b

1

    44        



a





       



b

44  

2

syncopation

        

        

  

syncopated rhythmic patterns 3 + 2 a 3

b

2

44        



a

        





       



b

44  

3

syncopation

       

  

syncopated rhythmic patterns 3 + 3 a 3

b

3

44         



a

44  

syncopation

         





        



b

        

  

-44-

basic syncopated rhythmic patterns combinations iii - 2/2

4

syncopated rhythmic patterns 3 + 4

a 3

b

4

 44        



a

          





         



b

44  

5

syncopation

         

  

syncopated rhythmic patterns 3 + 5

a 3

b

5

44      

 



a





    

  

  







     3  



  

    

b

syncopation

syncopated rhythmic patterns 3 + 6

a 3

6

3

         4 4

a

   4 4

 

b

44  

6

syncopation

      



     3  

       3 

b

  

-45-

basic syncopated rhythmic patterns combinations iii

1/2

1

syncopated rhythmic patterns 3 + 1 a 3

44 

b

1







a

 







 







 











b

44  

2

syncopation

 

  

syncopated rhythmic patterns 3 + 2 a 3

b

2

44 





a

 



b

44  

3

syncopation

 

  

syncopated rhythmic patterns 3 + 3 a 3

44 

b

3



a

44  

 

syncopation

b



  

-46-

basic syncopated rhythmic patterns combinations iii -2/2

4

syncopated rhythmic patterns 3 + 4 a 3

b

4

44 



a

 

























b

44  

5

syncopation



  

syncopated rhythmic patterns 3 + 5 a 3

b

5

44 



a

 

b

44  

6

syncopation



  

syncopated rhythmic patterns 3 + 6 a 3

  4 4

6

b

3



a

44  

 

syncopation 3

b



  

-47-

scales study with combinations of syncopated rhythmic patterns iii

1/2

1

c half step-whole step diminished scale syncopated rhythmic patterns 3 + 1  a  

                                           b

2

syncopation

           

         

         

       



c diminished whole tone scale syncopated rhythmic patterns 3 + 2  a   

                      

        

                                            b

3

syncopation

c chromatic scale

syncopated rhythmic patterns 3 + 3 a

                  

               

           b

syncopation



          

 -48-

scales study with combinations of syncopated rhythmic patterns iii - 2/2

4

c harmonic minor scale

                         b

5

syncopation

syncopated rhythmic patterns 3 + 4 a 

          

            



      

 



c locrian +2 scale

         b

 

syncopated rhythmic patterns 3 + 5 a 

        



syncopation

     



      

        

  



c lydian b7 scale

6

         

        

syncopation

          b

syncopated rhythmic patterns 3 + 6 3 a 

3





        

3            

3

 -49-

basic syncopated rhythmic patterns combinations iv 1/2

1

syncopated rhythmic patterns 4 + 1 a 4

b

1

   44       



a

         





        



b

   4 4

2

syncopation

         

  

syncopated rhythmic patterns 4 + 2 a 4

b

2

 44       



a





        



b

44  

3

syncopation

         

        

  

syncopated rhythmic patterns 4 + 3 a 4

b

3

 44        



a

44  

syncopation

          





         



b

         

  

-50-

basic syncopated rhythmic patterns combinations iv - 2/2

4

syncopated rhythmic patterns 4 + 4

a 4

b

4

     44       



a





          



b

44  

5

syncopation

           

          

  

syncopated rhythmic patterns 4 + 5

a 4

5

 44   

  

b

 



a

 





     

  

  

  







    3    



     

syncopated rhythmic patterns 4 + 6

a 4

6

a

  

b

3

         4 4

4 4

       

b

44  

6

syncopation



    3    

syncopation

      3   

b

  

-51-

basic syncopated rhythmic patterns combinations iv 1/2

1

syncopated rhythmic patterns 4 + 1 a 4

44 

b

1







 

a

b

  

  

 

4 4

2

syncopation







 







 











syncopated rhythmic patterns 4 + 2

a 4

b

2

44 





a

 



b

44  

3

syncopation

 

  

syncopated rhythmic patterns 4 + 3 a 4

44 

b

3



a

44  

 

syncopation

b



  

-52-

basic syncopated rhythmic patterns combinations iv -2/2

4

syncopated rhythmic patterns 4 + 4 a 4

b

4

44 



a

 

























b

44  

5

syncopation



  

syncopated rhythmic patterns 5 + 5 a 4

b

5

44 



a

 

b

44  

6

syncopation



  

syncopated rhythmic patterns 4 + 6 a 4

44 

6

b



a

44  

 

syncopation

b



  

-53-

scales study with combinations of syncopated rhythmic patterns iv

1/2

1

c minor pentatonic scale

 

syncopated rhythmic patterns 4 + 1 a   

                       

        syncopation

          

            b

2

            b





c whole step-half step diminished scale

       

3

        



syncopation

syncopated rhythmic patterns 4 + 2 a  

               

         

        

       



c minor blues pentatonic scale

        

             b

syncopation

syncopated rhythmic patterns 4 + 3  a

  



     



            

 -54-

scales study with combinations of syncopated rhythmic patterns iv - 2/2

4

c whole tone scale

 

  

b

        



  



        

      



c major pentatonic scale

        b

syncopation

    

6 

         

syncopation

    

5

    

syncopated rhythmic patterns 4 + 4 a 

   

syncopated rhythmic patterns 4 + 5  a

       







  

  

 

       

  



c mixolydian bebop scale

       

syncopated rhythmic patterns 4 + 6 3 a 

        

syncopation

b

    

       3





3            

3            

 -55-

basic syncopated rhythmic patterns combinations v 1/2

1

syncopated rhythmic patterns 5 + 1 a 5

 44  

b

1

     



a

    





     



b

44  

2

  

syncopation



      

  



syncopated rhythmic patterns 5 + 2 a 5

44  

b

2

    



a

    





     



b

44  

3

  

syncopation



     

  



syncopated rhythmic patterns 5 + 3 a 5

44  

b

3

     



a

44  

  

syncopation

     





      



b



      

  



-56-

basic syncopated rhythmic patterns combinations v - 2/2

4

syncopated rhythmic patterns 5 + 4 a 5

 44  

4

    

 



a

syncopation

  

    

 





       



b

44  

5

b

       



  



syncopated rhythmic patterns 5 + 5 a 5

44  

b

5

  

 



  



a

 



  





  

  

  







  3   



syncopated rhythmic patterns 5 + 6 a 5

   4 4

6

  



b

3

    

a 4 4

syncopation

  

b

44  

6

  



3        

  

syncopation

  3  

b

  



-57-

basic syncopated rhythmic patterns combinations v 1/2

1

syncopated rhythmic patterns 5 + 1 a 5

44 



syncopation

b

1





 



a

b

44  

  

2









 

syncopated rhythmic patterns 5 + 2 a 5

b

2

44 





a

 







 











b

44  

3

syncopation

 

  

syncopated rhythmic patterns 5 + 3 a 5

44 

b

3



a

44  

 

syncopation

b



  

-58-

basic syncopated rhythmic patterns combinations v -2/2

4

syncopated rhythmic patterns 5 + 4 a 5

b

4

44 



a

 

























b

44  

5

syncopation



  

syncopated rhythmic patterns 5 + 5 a 5

b

5

44 



a

 

b

44  

6

syncopation



  

syncopated rhythmic patterns 5 + 6 a 5

  4 4

6

b

3



a

44  

 

syncopation 3

b



  

-59-

scales study with combinations of syncopated rhythmic patterns v

1/2

1

c major bebop scale

 

       

            

syncopation

b

  

2

      

syncopated rhythmic patterns 5 + 1 a    



       

           





c melodic minor scale syncopated rhythmic patterns 5 + 2 a  

        

  

3

      



      

syncopation

b

    



     





      





c major blues pentatonic scale

        b

  

        syncopation

syncopated rhythmic patterns 5 + 3  a



     









        

        

 -60-

scales study with combinations of syncopated rhythmic patterns v - 2/2

4

c diminished whole tone scale

 

   

b

  

5

syncopated rhythmic patterns 5 + 4 a 

      

   

         syncopation



     



           



  



c melodic minor bebop scale syncopated rhythmic patterns 5 + 5 a 

          b

  

6

syncopation

   



  

 

  





   



   

 

  



c lydian augmented scale

        

b

  

syncopated rhythmic patterns 5 + 6 3 a 

    



syncopation

       3







3        



3       

 -61-

basic syncopated rhythmic patterns combinations vi 1/2

1

syncopated rhythmic patterns 6 + 1 a 6

1

44       

a



 3      

   4 4

2

b

3

syncopation 3

       

b

  





 3     



syncopated rhythmic patterns 6 + 2 a 6

44       

3



a

       

b

 3     

   4 4

3

syncopation

b

2 3

  





 3     



syncopated rhythmic patterns 6 + 3 a 6

b

3 3

44        



a

   4 4

syncopation 3

        

b

 3      

  





 3      

 -62-

basic syncopated rhythmic patterns combinations vi - 2/2

4

syncopated rhythmic patterns 6 + 4

a 6

4

b

3

     44       



a

         

b

 3       

   4 4

5

syncopation 3

  





 3       



syncopated rhythmic patterns 6 + 5

a 6

5

b

3

44     

 



a

  

 3  

  

 





  







 3   3  



 3  

  

syncopated rhythmic patterns 6 + 6

a 6

6

a

  

b

3

3           

4 4

4 4

     

b

4 4

6

syncopation 3



 3   3  

syncopation 3

      3 

b

  

-63-

basic syncopated rhythmic patterns combinations vi 1/2

1

syncopated rhythmic patterns 6 + 1 a 6

 

syncopation

1 3

4 4



b





 

a

b

44  

  

2



 

3







 







 











syncopated rhythmic patterns 6 + 2 a 6 3

  4 4





a

 

3



b

44  

3

syncopation

b

2

 

  

syncopated rhythmic patterns 6 + 3 a 6

  4 4

3



a

44  

syncopation

b

3

 

3

b



  

-64-

basic syncopated rhythmic patterns combinations vi -2/2

4

syncopated rhythmic patterns 6 + 4 a 6

4

b

3

  4 4



a

3

























b

44  

5

 

syncopation



  

syncopated rhythmic patterns 6 + 5 a 6

syncopation

5

b

3

  4 4



a

3

b

44  

6

 



  

syncopated rhythmic patterns 6 + 6 syncopation

a 6

  4 4

6 3

b

3



a

44  

 

3

3

b



  

-65-

scales study with combinations of syncopated rhythmic patterns vi

1/2

1

c lydian scale

 

         syncopation

           b

3

2

syncopated rhythmic patterns 6 + 1 a 3

  

   

        

 3    

        3



3



c harmonic minor bebop scale syncopated rhythmic patterns 6 + 2 a

         b

            syncopation

3

3

 3                    

           

3

3

        3

3      



c aeolian bebop scale

                   b

syncopation

3

syncopated rhythmic patterns 6 + 3 a 

           3





3              

3         

 -66-

scales study with combinations of syncopated rhythmic patterns vi - 2/2

4

c lydian dominant scale syncopated rhythmic patterns 6 + 3

                                       a

3

3

3

            3                       3 3 syncopation

b

5



c phrygian scale syncopated rhythmic patterns 6 + 5

          b



syncopation 3

   

6

a 3

   

 

 



     3



3         

  



c chromatic scale syncopated rhythmic patterns 6 + 6



         



3 3                 

a

3

3

3  3   3                         3

syncopation

b

3

3

 -67-

basic syncopated rhythmic patterns combinations with the major scale 1

1

2

                  syncopation

       

     

      

       

      

       

                                            syncopation                                         

2

1

3

1

2

3

2

3

4

                 

                

                   

                 

syncopation

4

1

2

3

4

5

                  

                  

  

                                          syncopation

  

      

                 

     

5

1

2

3

4

              syncopation

5

6

3

 

 

3

-68-

basic syncopated rhythmic patterns combinations with melodic patterns of the major scale 1

thirds 1

2          

        syncopation

2

arpeggios 1 2 3

3

chord + scale 1 2 3

       

      

      

       

       

       

                                                syncopation                                                              

                 

4

                  

                    syncopation

4

connected chords 1 2 3

4

5

                

               

 

                                           syncopation

5

chromatics 1 2

 

            3

4

5

  

                    syncopation

 

6 

3 



  3   

  -69-

basic syncopated rhythmic patterns combinations with the mixolydian scale 1

1

2

                 syncopation

       

     

      

       

      

       

                                            syncopation                                         

2

1

3

1

2

3

2

3

4

                 

                

                   

                 

syncopation

4

1

2

3

4

5

                  

                 

  

                                           syncopation

  

       

                 

     

5

1

2

3

4

               syncopation

5

6

3

 

 

3

-70-

basic syncopated rhythmic patterns combinations with the dorian scale 1

1

2

                   syncopation

2

1

3

1

       

      

      

       

      

       

                                             syncopation                                                2

3

2

3

4

                  

                

syncopation                    

4

1

2

3

4

5

                 

                                    

  

                                                syncopation

5

1

2

3

4

5

                                    syncopation

        6

3

     

 

 

3

-71-

basic syncopated rhythmic patterns combinations with the major (blues) pentatonic scale 1

    1                            syncopation                                    

2

2

                  syncopation                     

3

1

2

3

4  1                   syncopation                 

4

3

2

5               4

3

syncopation

           

5

5

     

6

     3

 



           



          



                  



 

               



 1  2        

   



  



         

2 1 4 6 3                        3

  3                           3 syncopation



  -72-

basic syncopated rhythmic patterns combinations with the minor (blues) pentatonic scale 1

1                                          blue note syncopation                                    

2

2

                        blue note  syncopation                        

3

1

2

3

4  1              syncopation             

4

3

4

    

2

5



                     

                  

                

 

 

3 5          

2  1             

   



syncopation

           

  



           

5



6

        3

3 2 1 4 6  3                  

        3                          3 syncopation

  -73-

rhythm and articulation exercises with the major scale 1

tenuto

3

vertical accent

5

legato

                  

     7

       

4

vertical accent with staccato

       

         

6

portato

       

       

      

       

   

horizontal accent

         8

2 staccato

       











 







 



swing articulation

  

 

 

 









 



 

 

 

 



 



 

    







   

   

 



 



 

 

 







 



 

 

 

 

 

 



 

 

                                            9

breath articulation

-74-

scales study with syncopated rhythmic pattern and articulations

            

same rhythmic pattern and articulations with different scales

1

 

2

c major scale

       

c dorian scale

        

4

c melodic minor scale

         

6

7

        

             

  

     

     

    

      

     

      

          

      

             

      

        

c half step-whole step diminished scale



       

8

c diminished whole tone scale

        

      

             

c whole tone scale

        

     

     

c major pentatonic scale

       

5

     

basic syncopated rhythmic pattern 4b

c mixolydian scale

        

3

  

syncopation

      

          

-75-

scales study in relation to the beat     

playing ahead, on or behind the beat

1

c major scale

         

              

behind the beat:

1

2

3

4

1

2

3

4

2 c mixolydian scale 

       

on the beat:

                1

2

3

4

1

2

3

4

3 c dorian scale 

        

ahead of the beat:

                 1

2

3

4

1

2

3

4

4 c major pentatonic scale ahead on behind                        ahead, on and behind the beat:

5 c melodic minor scale         

1

2

3

4

behind

1

2

3

on

4

ahead

               

behind, on and ahead of the beat: 1

2

3

4

1

2

3

4

-76-

scales study with swing 

different dynamics applied to each note of the scale

 ppp ppp                                 thirds: dahd-n du daht  ghost note: suggested note, with rhythmic value but undetermined pitch.

1

c major scale

mf ppp mp f

mf mp mp ppp

2 c mixolydian scale dahd du -n dahd du -n                            seventh chords: ghost note ppp

3 c dorian scale 

        

thirds:

mf ppp mf ppp dahd-n dahd-n

                      

4 c major pentatonic scale 

 

mp mf mp ppp du dahd -n du dahd -n



groups of four:

                            

5 c minor blues pentatonic scale 

          

triplets:

6 c whole tone scale        

chromatics:

mf ppp f dahd-n daht

       3

      3

3             3

ppp mf mp f n- dahd-n daht

    

  

                  -77-

jazz language: ghost note  1

ghost note: suggested note, with rhythmic value and undetermined pitch.

   

diatonic i

        pp

dud-n daht x: ghost note

2 chromatic i

    

     

dud-n daht

   

   

     

     

    

   

   

   

   

4 chromatic ii

  

    

    

   

3 diatonic ii dud-n daht

     dud-n daht

5 thirds i

    dahd-n du daht

  

  

  

6 thirds ii

             dahd-n dahd-n





7 clichés

 

3                                 3

-78-

major scale study with rhythmic displacement 1

rhythmic pattern 3 starting on down beat

 



                      major scale in groups of four

  



forward motion:

2

rhythmic pattern 3 starting one eighth note before down beat

     

3

       

                      

        

rhythmic pattern 3 starting two eighth notes before down beat

     

4

        

     

                    

rhythmic pattern 3 starting three eighth notes before down beat

     

     

                

          -79-

pentatonic scales with rhythmic displacement 1

major pentatonic scale in groups of four

  

                        starting on down beat

A



forward motion:

                          one eighth note before down beat

b

  c

 



                     three eighth notes before down beat

d

 

2

                  two eighth notes before down beat

minor pentatonic scale in groups of four A



                                starting on down beat



 forward motion: b

  c

  d

 

                            one eighth note before down beat



                          two eighth notes before down beat

three eighth notes before down beat

                              -80-

bebop scales with rhythmic displacement 

tension and release with rhythmic displacement of the passing tones

1 major bebop scale with three passing tones 

                   





major bebop scale with three passing tones and rhythmic displacement with syncopated rhythmic patterns and articulations

                                        tension - release

2 mixolydian bebop scale with three passing tones 

                    





mixolydian bebop scale with three passing tones and rhythmic displacement with syncopated rhythmic patterns and articulations

3    3                               



tension - release

3 dorian bebop scale with three passing tones

                     





dorian bebop scale with three passing tones and rhythmic displacement with syncopated rhythmic patterns and articulations

                                     tension - release

 -81-

rhythmic reading of the jazz standard melody  sonny moon for two. bars 1-4. 3x

swing

 

          

   

  

         

        

  



   

         

         

   









  

1 rhythmic reading of the melody:          











2 off beats feel: off beat 



 

    

on beat

off beat 

  





















on beat

3 triplets feel:                                                     3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

4 swing triplets feel: 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3                                       

-82-

interpretation of the jazz standard melody  Blues For Alice. bars 1-4.

1 interpretation with swing 

swing is the intention with which the notes are played using different dynamics.



swing feel: eighth notes are played with a triplet feel.



ghost notes are suggested notes, with rhythmic value and undetermined pitch.

 f

  

mf

ppp



ghost note

 

swing:



f



mf

ppp





mf



f

mf

 

mf f     f

 

ppp

 

f

3

mf f mp f          mf

 

mf ppp ppp mf  3 

ppp

f

      

mf

mf mf mf  3

    

2 interpretation in relation to the beat the interpretation can be delayed playing behind the beat or accelerated playing ahead of the beat.

behind the beat

  

 

behind the beat

 

on the beat









on the beat

        



ahead of the beat

 

    

 

 

ahead of the beat

 3       

      3

-83-

rhythmic transformation of the jazz standard  all the things you are: bars 1-4

1

swing      



 

  3   

 3  

shuffle     



latin     





  



4

bossa     



5









   







 



































2









  



   

   

            jazz waltz









      









latin clave 3-2







       

3





2





2













 

2

 -84-

rhythmic transformation of the jazz standard melody  all the things you are. bars 1-4.

1

     



swing



















2

syncopated rhythmic pattern 1

3

syncopated rhythmic pattern 2

            

                     

4

syncopated rhythmic pattern 3

    

             

          

5

syncopated rhythmic pattern 4

6

syncopated rhythmic pattern 5

               

7

  

       

     



  

          

   

                 

  

  

 

syncopated rhythmic pattern 6

3          

8

                  

   

3 3 3 3   3  3                    

syncopated rhythmic patterns combinations

1  3 5 4 6 3 3 5 3                                    

  -85-

rhythmic transformation of the jazz standard melody  autumn leaves. bars 1-4.

1

        swing



2

syncopated rhythmic pattern 1

3

syncopated rhythmic pattern 2

                  



  







                          

              



4

          

syncopated rhythmic pattern 3

  

5

            

     

6

syncopated rhythmic pattern 5

7

syncopated rhythmic pattern 6

            

8

          

syncopated rhythmic pattern 4

  

    3

  



          



     

      

    

                         

 3  



        3 3



3

  

syncopated rhythmic patterns combinations

1   2                 

               3

4

5

6 3

   -86-

basic syncopated rhythmic patterns in jazz standards melodies 1

c jam blues (duke ellington) 3x

      4 4



2a

2

  

  



2a

2a

5a

  

bags groove (milt jackson) 3x

44   

 



2a

  

 



2a

2a

5a

  







3 four (miles davis). bars 1-4.            44                      1a 2a

4

1a

2a

1a

2a

1a 2a

1a





2b

sonny moon for two (sonny rollins) 3x

                       

       4 4





1b

4a

1a 2b

2a

1a 2b

2a

5 oleo (sonny rollins)    44                           4a

   5a

5a

1a

      1a

2a

4a

3a

3a

4a

                    

4a

3a

1a 4a

1a 3a

6 the girl from ipanema (antonio carlos jobim)               44                           5a

    4b

2b

2b

      3b

3b

  

2b

    

4b





3b

3b







2a

7 billie´s bounce (charlie parker) 44                                  3a

3b

2a

1b 2a

1b 3a

3a

3a

                            1a 2a

1b

2b

3a

1a

1b

                     1a 3a

1a 3a

1b 2a

2a

3a

        1b 2a

1a

-87-

major ii-v-i: syncopated rhythmic patterns 1 syncopated rhythmic pattern 1 D-7 

 

   

     G7

Cmaj7 

          

    

     

       

       

      

      

    Cmaj7      

syncopation D-7 

    

3 syncopated rhythmic pattern 2 D-7 

G7     

Cmaj7 

     

G7     

Cmaj7

2

    4

 

    

    

D-7

5 syncopated rhythmic pattern 3 D-7

 

       

G7

G7       

D-7

G7       

7 syncopated rhythmic pattern 4 D-7

G7      

6

    8

 

       

      

      

D-7

9 syncopated rhythmic pattern 5 D-7 

  10

 

 

  

   

D-7

 

11 syncopated rhythmic pattern 6 D-7 3 

  12

 

   

  

D-7

3

G7       G7 

G7 

  

  

G7 3     3    G7

     

Cmaj7

       

Cmaj7

Cmaj7

      

Cmaj7

Cmaj7

 

Cmaj7

 

       

   Cmaj7 3    Cmaj7 3

     

       

        

 

       

3    3   

-88-

minor ii-v-i: syncopated rhythmic patterns 1 syncopated rhythmic pattern 1 D-7b9 

  2

  3

   

D-7b9

    

syncopated rhythmic pattern 2 D-7b9

  4

 

   



D-7b9      

5 syncopated rhythmic pattern 3 D-7b9 

  6

 

       D-7b9        

7 syncopated rhythmic pattern 4 D-7b9

  8

 

      

      

D-7b9

9 syncopated rhythmic pattern 5 D-7b9 

  10

  11

D-7b9

 

  

   

syncopated rhythmic pattern 6 D-7b9 3

  12

 

 

   D-7b9 3    

    

G7b9

     C-

    

G7b9 

   

C-

     

     

G7b9  

C     

    

  





G7b9

     

C     

     

G7b9       

C       

       

C      

      

G7b9              

G7b9 

      

G7b9 

G7b9 



G7b9 

  

  

G7b9  3

  

G7b9  3

  

C       

C       C-

 

C-

 

       

C- 3    C- 3   

       

        

 

       

3    3   

-89-

articulations variations 1

a

b

ghost note

       4 4

    

syncopation               

dud-n du duh

dud-n du du

swing: 3 3  44      

2

 3   3    

   3   3     

 3   3      

b

a

   44      

    

       

      

duht-n du dah duht-n du duh

3

a

b

    44      

    

               dahd-n du dah

dahd-n du duht

4

a

 44      

5

b

    

       

daht-n du daht

daht-n du dah

a

b

    44       dot-n du dot

    

       

      

      

dot-n du dah -90-

articulations variations with the major scale 1

a

 

ghost note

       dud-n du duh

2 

3

b

    

a

     

       dud-n du du

    

      

        

       

        

       

        

       

duht-n du dah

a

b

     

a

        

      

b

5

      

b

4

       

duht-n du duh

dahd-n du duht

daht-n du daht

a

         dot-n du dot

      

b

       



syncopation

dahd-n du dah

daht-n du dah

dot-n du dah

-91-

syncopated rhythmic patterns with sixteenth notes 1

a

  44       

2

5

    

     



      

    



      

    



    



    



    



b

    

      

b

    

a

  44      

       

b

a

 44      

6

    

a

 44      

syncopation

b

a

 44      

4

     

a

 44      

3

b

      

b

    

      

-92-

syncopated rhythmic patterns with sixteenth notes 1

a

 44 

2

5

 

 

 



































 

 

b

 



 

  





b

  

  

a

 44 

 

b

a

 44 

6

 

a

 44  

syncopation

b

a

 44 

4

 

a

 44 

3

 

b

 

b

 

 

 

-93-

scales study with sixteenth notes 1

play ascending and descending in all keys

c major scale

  b

        a

      syncopation

      

    

2 c mixolydian scale

      a

         b

syncopation

     

     

3 c dorian scale

a

         b



syncopation

  



 

 

     

4 c major pentatonic scale         b



syncopation

    

       a

     

      

       

                   

                     



            

           

        

 -94-

jazz language: rhythms

1/2

1 new orleans second line two beat swinging march

   2

     

back beat

 

  3

  



  

   

     

 



shuffle

     4

 

    



  





blues shuffle

3 3 3 3                      

5 swing

    6

3

     

jazz waltz

  



 



 

 

 

 



 -95-

jazz language: rhythms - 2/2

7

bossa nova

                8

samba i

         9

samba ii

        

   

       

          

2



2



2



10 latin clave 3-2

     11

    

2



latin clave 2-3

        12

     

 

    

2



reggae 3

           

       

2

 -96-

notes 

-97-

notes 

















 -98-