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The Use of Rhythmic Space
The Use of Rhythmic Space
Date Posted: January 08 2010
Written By: Frank Caruso
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The Use of Rhythmic Space––Part 2
By Frank Caruso
My last article dealt with three locations on the beat: the “Center” (or “groove”) of the beat, the “Front Center” (just slightly ahead of the beat), and the “Back Center” (just slightly behind the beat). If you haven’t read that article it would be a good idea to read and review it. As players and students of jazz, the intellectual and intuitive understanding of these aspects must be internalized and ultimately expressed flawlessly while playing. As a rhythm section player, the execution of these aspects comes into play while soloing and accompanying. Both are equally important.
In this article I would like to explore some very simple practicing devices, which may prove helpful in two critical areas of learning and performing. The first and most important thing to realize is that listening is the part of musicianship that helps you to mature most effectively. Listening will also allay any fears you may have as a player.
In each of the exercises below, listening critically to what you are playing will allow your ideas to sound more musical and consequently encourage you to develop the techniques needed to make these devices sound as musical as the great players you are attempting to emulate. The use of a metronome as a rhythmic reference tool may be helpful. Set a metronome marking, turn the metronome off and periodically check your tempo to the original setting on the metronome.
EXERCISE 1
The first exercise is a very simple one that many of you are already using.
1) Pick a set of changes you are comfortable with.
If you aren’t comfortable with complex changes, modes or the various alterations of scales it would be best to just play any ii – v progression or even a major- or minor-scale pattern. (Remember, this is a rhythmic exercise!)
Duple Rhythms
2) Play all duple rhythm patterns.
Any combination of 1/4-note, 1/8-note or 1/16-note patterns are a good starting point. One-thirty-second and 1/64-note patterns should be reserved for more experienced virtuostic players.
Triple Rhythms
3) Play all triplet rhythm patterns using the various rhythmic denominations i.e. 1/4, 1/8, 1/16, etc. It is important to note that your desire and tenacity will determine how perfect the execution of these will become.
4)Alternate between duple and triple.
5) Listen intently to identify whether any aspect of these is strong or weak. Begin to learn from the strong points to help you execute any patterns that are difficult.
6) Be certain that your phrase entrances are solid and sound musical. Syncopation should not affect the “groove.”
Once you are confident that the ideas you are playing sound musical and have a strong rhythmic quality, begin to do the next exercise.
EXERCISE 2
The second exercise involves entering or coming in on different beats.
1) Enter on the upbeat of 1
2) Enter on the upbeat of 2
3)Enter on the upbeat of 3
4) The upbeat of 4 is actually an anticipation of 1. The others are also anticipations of the beats they precede, but they allow you time to actually develop an idea within the measure.
5) Alternate between duple and triple meter patterns as before.
If you are studying with a teacher and have not done these exercises you may wish to ask your teacher for assistance in performing these exercises. Always ask for your instructor’s input and opinions—it’s the courteous thing to do, and you can always get ideas from one musician that you may not get from another.
If you don’t have a copy of the previous “Use of Rhythmic Space” article you can find it on chicagojazz.com or contact me. My next article will address the use of spacing devices in longer two-, four- and eight-bar phrases. Until then, please remember to LISTEN.
Frank Caruso is a jazz educator serving on the jazz studies faculties of North Central College and Elmhurst College. He also teaches at his home studio. You can contact him at carusopiano@yahoo.com.
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