Tom
Uploaded by
Jorgeluis ReedTom
Uploaded by
Jorgeluis ReedTom Lippincott
64 Modern Jazz Guitar 4
Rhythm part 1
1. Eighth notes
Example 1: creating groups of three notes by intervalic patterns
Example 1a: ex. 1 applied to ex. 5 of Melody section
3 5 7 8 10 12 13 15 15
3 5 6 8 10 12 13 15
5 7 9 10 12 14 16 17
Example 1b: ex. 1 applied to ex. 20 of Melody section
10 12
10 8 10 12
9 7 5 7 9 7
9 7 5 7 5 10
7 5 3 8
5 7 7
Example 2: creating groups of five notes by intervalic patterns
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Examples from Melody section that contain five-note patterns:
Examples 24A, 34 - 38, 48B, 56, and 57
Example 3: preperatory exercise for playing five-note groupings
7 7 9 7 9 10
7 7 9 7 9 10 7 9 10 7 9 10 9 10 10
7 8 10 7 8 10 7 8 10 8 10 10
8 10 10
Example 4: pentatonic pattern using five-note groupings
5 8
5 8 5 8
5 7 5 7 7
5 7 5 7 7
5 7 5 7 7
5 8 8
8 5 5
8 8 5 8 5 5
7 5 7 5 5
7 5 7 5 5
7 5 7 5 5
8 5 8
Example 5: creating groups of seven notes by intervalic patterns
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Examples from Melody section that contain seven-note patterns:
Examples 26, 39, and 58
Example 6: up and down neck fingering for example 5 pattern
1 3 5 7 3 5 7 8 5 7 8 10 7 8 10 12 8 10 12 13 15 13 12
1 3 5 3 5 6 5 6 8 6 8 10 8 10 12 15 13
13 12 10 12 10 8 10 8 7 8 7 5 7 5 3 5 3 1
12 10 13 12 10 8 12 10 8 6 10 8 6 5 8 6 5 3 6 5 3 1 5 3 1 0 1
Example 7: implying groupings of five by using accents on groupings of four notes (diatonic 7th arpeggios)
7 8 7 10
8 10 8 10 8
7 9 7 10 9 7 10 9 7 10 9
9 7 10 9 7 10 9 7 10 9 10
7 10 8 7 10 8 10
8 10
10 7 8 7
8 5 10 6 8 10 8
7 9 10 7 9 10 7 9 7
10 9 10 7 9 10 7 9 10 7 9 7
10 8 10 7 8 10 7 8
10 8 10 7 8
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Example 8: implying groupings of seven by using accents on groupings of four notes
7 8 7 10
8 10 8 10 8
7 9 7 10 9 7 10 9 7 10 9
9 7 10 9 7 10 9 7 10 9 10
7 10 8 7 10 8 10
8 10
10 7 8 7
8 5 10 6 8 10 8
7 9 10 7 9 10 7 9 7
10 9 10 7 9 10 7 9 10 7 9 7
10 8 10 7 8 10 7 8
10 8 10 7 8
Example 9: Implying groupings of five on a three-note pattern (sus triads)
1 1 3 3 5 7 8 8 10 10 12
1 3 5 6 8 10 12
4 5 7 9 10 12 14
Example 10: Implying groupings of seven on a five-note pattern (four-part-4ths) over a II V I VI progression
(uses pattern from ex. 38c of Melody section)
D-7 G7 /two extra
C^ 0 A7 D-7
beats
7 6 6 5 3 6
6 6 5 3 2 3
9 8 7 5
9 10 9 8 7 9 5 7 7
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2. Eighth note triplets
Example 11: (play all rhythms both short and long)
All 3 first triplet (downbeats) 3rd triplet (swing upbeats) 2nd triplet
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
Practice comping (simple voicings at first) using each part of the triplet:
1st: quarter notes
3rd: swing upbeats (start with short notes then make them sustained)
2nd: start short, then sustain
Then practice switching back and forth
Also practice same exercise with improvised single notes
Example 12: comping with shell voicings on different partials of the eighth-note triplet ("All the Things")
F-7 Bb-7 Eb7 Ab^
6fr 6fr 5fr 4fr
Etc.
3
3 3 3
first third triplet second first
triplet (anticipated) triplet triplet
8 8 8 8 6 6 6 6 6 6 6 6 6 6 6 6 6 5 5 5 5
6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 5 5 5 5 5 5
8 8 8 8 6 6 6 6 6 6 6
6 6 6 6 6 6 4 4 4 4
Example 13: four-note four-part-4th pattern played with eighth-note triplets (uses Ex. 9 from Melody section)
3
3 3 3 3 3 3 3
3
1 3 5 7 8 10 12
1 3 5 6 8 10 12
4 5 7 9 10 12 14
5 7 9 10 12 14 15
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Example 13a: four-note pattern played with eighth-note triplets, displaced
3
3 3 3 3 3 3 3 3 3
1 3 5 7 8 10 12 12
1 3 5 6 8 10 12
4 5 7 9 10 12 14
5 7 9 10 12 14 15
Example 13b: four-note pattern implying groupings of five by doubling the length of the first note of each group
3
3 3 33 3 3 3 3 3 3 3
1 3 5 7 8 10 12 12
1 3 5 6 8 10 12
4 5 7 9 10 12 14
5 7 7 9 10 12 12 14 15
Example 14: five-note four-part-4th pattern played with eighth-note triplets (uses Ex. 38c from Melody section)
3
3 3 3 3 3 3 3 3 3 3
3
1 3 5 7 8 10 12 12
1 3 5 6 8 10 12
4 5 7 9 10 12 14
3 5 5 7 7 9 9 10 10 12 12 14 14 15
Example 14a: mixing four-note and five-note patterns for displacement effect
five-note patterns
3
3 3 3 3 3 3 3 3
3
four-note patterns
1 3 5 7 8 10 12
1 3 5 6 8 10 12
4 5 7 9 10 12 14
5 7 7 9 10 12 12 14 14 15
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Example 15: combinations of two eighth-note triplets
second and third
First and second (displaced swing 8ths)
First and third (swing 8ths) (reverse swing)
3 3 3 3
3 3 3 3 3 3 3 3
practice each grouping playing scales and patterns and improvising
Example 15a: cycling through the three different combinations with suspended triads
3
3 3 3 3 3 3
3 3 3 3 3 3 3 3 3
3 3 5 5 6 6 8 8 10 10 12 12 13 13 15 15 17 17 17 15 15 15 13 13 13 12 12 10 10 8 8 6 6 5 5 3
2 2 4 4 5 5 7 7 9 9 10 10 12 12 14 14 16 16 16 14 14 14 12 12 12 10 10 9 9 7 7 5 5 4 4 2
2 2 3 3 5 5 7 7 9 9 10 10 12 12 14 14 15 15 15 14 14 14 12 12 12 10 10 9 9 7 7 5 5 3 3 2
Larger groupings of three (dotted quarter and dotted eighth notes) with chords
Example 16: dotted half notes implying 3/4 time, A section to "All the Things"
Bb-7sus Db^ Ab^sus Ab^ F-^ Ab/Db
8fr 9fr 4fr 3fr 6fr 8fr
chord
scale A¨ major F melmin
basic harmony
F-7 B¨-7 E¨7 A¨^
9 9 4 4 3 8 9
9 9 9 4 4 4 6 9
8 10 10 6 6 6 9 8
8 10 10 5 5 6 6 10
8
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C^sus G/C C/D G/C G/C Bb/Eb
10fr 5fr 7fr 3fr 7fr 6fr
A¨ major C major
D¨^ D-7 G7 C^ C-7
9 7 7 8 8 10
9 12 12 8 8 3 3 8 8 6
8 10 10 4 7 5 5 7 7 8
10 10 10 10 10 5 5 9 9 8
10 10 5 7
Example 17: dotted eighth notes implying 3/8 time, second A section to "All the Things"
C-7sus G-7sus F-7sus Bb-7sus Ab^sus#4 Eb^ C#-7sus G#Øsus
10fr 10fr 8fr 8fr 6fr 6fr 4fr 6fr
chord
scale E¨ major B melmin
basic harmony C-7 F-7 B¨7
13 11 10 9
11 13 13 11 11 9 8 9 9 8 8 7
12 10 10 8 8 10 8 7 7 6 6 8
10 12 12 10 10 8 6 8 8 7 7 5
10 10 8 8 6 6 6 6
G-7sus D-7 C-7sus F-7sus Ab^sus#4 Ab7sus#4 Gb+^sus#4 F-7sus
5fr 5fr 3fr 3fr 6fr 9fr 7fr 6fr
E¨lydian E¨ major E¨ mel min
E¨^ A¨^ A-7 D7
8 6 10 11 11 10 10 8
6 8 8 6 6 4 8 9 9 7 7 6
7 5 5 3 3 5 8 11 11 10 10 8
5 7 7 5 5 3 6 12 12 10 10 8
5 5 3 3
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E-7sus A7sus F#-7sus B-7sus D^sus
5fr 5fr 7fr 7fr 10fr
Glydian
G^
7 5 5 9 9 7 10
5 5 5 7 7 7 10
7 7 7 9 9 9 12
7 5 5 9 9 7 11
Example 18: Quarter-note triplets
Accent every other triplet Leave out unaccented notes written as:
3 3
3 3 3 3 3 3 3 3
displaced Quarter-note triplets
3 3 3
Accent every other triplet,
starting with 2nd triplet Leave out unaccented notes written as:
etc.
3 3 3 3 3 3 3 3 3
Think of as quarter-note triplets
starting on beat 2
OR starting on the "and" of 4
Practice comping and soloing using triplets and displaced triplets
practice switching back and forth between the two
Example 18a: shifting between Quarter-note triplets and displaced quarter-note triplets with single note pattern (sus triads)
3 3 3 3 3 3 3 3
quarter-note triplets displaced quarter-note triplets
1 3 5 7 8 7 5 3
1 3 5 6 8 8 6 5 5 3
4 5 7 9 10 10 9 7 7 5
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Example 18b: shifting between Quarter-note triplets and displaced quarter-note triplets with chords (four-part-4ths)
G7sus A-7“ BØsus C^ D-7“ E-7sus F^sus#4
3fr 5fr 7fr 9fr 10fr
3
3 3 3
1 3 5 3 5 7 5 7 8 7 8 10 12
1 3 5 3 5 6 5 6 8 6 8 10 12
0 2 4 2 4 5 4 5 7 5 7 9 10
0 2 3 2 3 5 3 5 7 5 7 9 10
3 3 3 3
12 10 10 8 10 8 7 8 8 7 7 5 7 5 3
12 10 10 8 10 8 6 8 8 6 6 5 6 5 3
10 9 9 7 9 7 5 7 7 5 5 4 5 4 2
10 9 9 7 9 7 5 7 7 5 5 3 5 3 2
Example 19: quarter-note triplets grouped in fours for polyrhythmic effect over II V I progression
(notice articulations help reinforce the polyrhythmic effect)
Eb7sus4 Db^sus#4 C-7sus Bb-7sus D#Øsus4 C#-7sus B7sus4 A^sus#4
13fr 11fr 10fr 8fr 12fr 11fr 9fr 7fr
3 3 3 3
A¨ major E melodic minor
B¨-7 E¨7 A¨^
14 13 11 9 14 13 11 9 14 12 10 9 8
13 12 10 8 13 12 10 8 13 11 9 8 8
13 11 10 8 13 11 10 8 13 11 9 7 8
13 11 10 8 13 11 10 8 12 11 9 7 8
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Example 20: Half-Note triplets
Accent every 4th triplet
(1st of beat 1, 2nd of beat written as:
2, 3rd of beat 3) Leave out unaccented notes
3
3 3
3 3 3 3 3 3
Half-Note triplets can be displaced 3 times:
starting on 2nd and 3rd triplets of beat 1
and downbeat of beat 2.
non-displaced (as above) 2nd triplet of 1 3rd triplet of 1 downbeat of beat 2
3
3 3
3
3 3 3 3 3 3 3 3
3 3 3 3
Note that, in each case, there is
one of each (1st, 2nd, and 3rd triplets)
Example 20a: shifting between regular half-note triplets, the three displacements,
and quarter notes, using chords (four-part-4ths)
D-7“ E-7sus F^sus#4 G7sus4
7fr 9fr 10fr 12fr
non-displaced 2nd triplet of 1
3 3 3 3 3 3 3 3
8 10 12 13 8 10 12 8 10 12 13 8 10 12
8 10 12 13 8 10 12 8 10 12 13 8 10 12
7 9 10 12 7 9 10 7 9 10 12 7 9 10
7 9 10 12 7 9 10 7 9 10 12 7 9 10
3rd triplet of 1 downbeat of beat 2
3 3 3 3 3 3 3
3
8 10 12 13 8 10 12 8 10 12 13 8 10 12
8 10 12 13 8 10 12 8 10 12 13 8 10 12
7 9 10 12 7 9 10 7 9 10 12 7 9 10
7 9 10 12 7 9 10 7 9 10 12 7 9 10
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Example 21: "clave" for 5/4 and 7/4 time
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 6 7 1 2 3 4 5 6 7
Example 22: ways to break out of the "clave prison" in 5/4
Ex. 22a Ex. 22b Ex. 22c
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5
4 3 4 3
4 dotted eighths take up can also be thought of play last two beats as
3 beats of space as a 4:3 tuplet three quarter-note triplets
Ex. 22d halfway Ex. 22e
point 1 2 3 & 4 5 1 2 3 & 4 5
two over five broken down into four equal groups of five 16th notes
polyrhythm
Ex. 22f Ex. 22g
&
1 2 3 & 4 5 1 2 3 4 5
4:5 polyrhythm 4:5 polyrhythm
against quarter notes
Ex. 22h Ex. 22i
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5
five half notes filling two bars five dotted half notes filling three bars
Ex. 22j
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5
ten dotted eighth notes filling three bars
Ex. 22k Ex. 22l Ex. 22m
1 2345 1 234 5 1 2 3 45 1 23 45 1 23 45
anticipate beat one anticipate beat 4 quarter note anticipation
(implies 5/8) of beat one
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Ex. 22n Ex. 22o
3 3 3 3 3
3
3
3:5 polyrhythm against quarter notes 3:5 polyrhythm written against quarter notes
15 eighth-note triplets in groups of five
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