Swing Fundamentals
One of the fundamental components of jazz music is the swing rhythm. There are many varying opinions about the exact nature of swing, however there are some elements that are consistent across all definitions.
Using this information, we can piece together a definition something like the following:
- Firstly, the rhythm is based around the fact that quavers are not played the same length, dependant on where they fall in regard to the beat. This means simply that a quaver on the beat is played longer than a quaver off the beat.
- Secondly, all quavers are played long - as if they had tenuto signs over them.
- Thirdly, the off beat is accented.
- And fourthly, the rhythm is (generally) considered to be based on quaver triplets.
Using this information, we can piece together a definition something like the following:
Note that the definition is not the following, as the quavers are played long:
Here is a list of commonly used swing rhythms, and how they should be played.
This is a fantastic video that showcases swing perfectly. Watch the notation after the intro (when the drums come in - section 'A' on the sheet music) and see how although it may say quavers, the notes are played different lengths. Listen carefully to the bass line during the head and the trumpet during the trumpet solo especially.
After listening to the video above, you may have noticed some characteristics of the music. Most obviously, the music is all based around the swing rhythm, but what else is happening? If you didn't pick up anything, have another quick listen to the trumpet solo and have a think about the following:
You may have noticed the following things after listening to the recording:
Below are some exercises I get all my students to do.
- Foremost, what is the trumpet player doing?
- What is the drummer doing?
- What is the bass player doing?
- What is the piano player doing?
You may have noticed the following things after listening to the recording:
- The trumpeter is improvising, making up melodies and phrases that fit the time and the harmony.
- The piano player is comping - playing chords in interesting rhythms that compliment the soloist and add to what he is playing without drawing focus.
- The drummer is laying down a swing pattern - which in its simplest form is a pattern played on the ride cymbal comprised of a crotchet followed by two quavers and looped. The drummer is also comping using his other hands, adding rhythmic interest based on the phrases the soloist plays.
- The bass player is walking. A standard jazz-swing walking bass line is based on a crotchet rhythm and is played long and smooth (more on this in the Walking Bass section of this site, under beginner jazz theory).
- The strong beats of the bar are 2 and 4. You can hear the drummer accentuate these beats on the ride cymbal and sometimes close the hi-hat on these beats.
Below are some exercises I get all my students to do.
- Slowly tap crotchets with your foot and and clap quaver triplets with your hands. Then sing all the commonly used swing rhythms above while keep this going.
- Put on a metronome and scat continuous quavers to the syllables doo-bah. Concentrate on making the doo syllable long and and the bah syllable slightly accented, keeping the whole phrase smooth and flowing.
- Try scatting a simple solo over a blues using the basis of the above point.
- Listen to jazz and think about what you hear. Think about what makes you enjoy one song over another, what gives the music energy, what the players are doing, etc.