Tom
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Tom Lippincott
Modern Jazz Guitar 4 Rhythm part 1
64
1. Eighth notes Example 1: creating groups of three notes by intervalic patterns
! ! " " " " " " " " " " " " " " " " " " " " "# " Example 1a: ex. 1 applied to ex. 5 of Melody section
" $ " " " " " " " " ! " " " " " " " " " " " " " " " " # $
15
15
13 17
16
14
12
10
9
7
5
15
13
12 12
10
8
6
5
10
8
7
5
3 3
Example 1b: ex. 1 applied to ex. 20 of Melody section
" " " " " " " " " " " " " $
" ! " " " " " " " " " " " 10
# $
10 9 9 7
7
7
8
12 10
5
5
5
5
12 7
9
7 7
5
10 3
8 7
7
Example 2: creating groups of five notes by intervalic patterns
! " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " %
Tom Lippincott
65 Examples from Melody section that contain five-note fi ve-note patterns: Examples 24A, 34 - 38, 48B, 56, and 57
Example 3: preperatory exercise for playing five-note groupings
" ! " ! '& " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " % # $ 7
7
7
8 10 10
7
8 10
7
8 10 10
7
9
7
8 10 10
9 10 10
7
8 10
7
9 1 10 0
7
9
7
9 1 10 0
9 1 10 0
9 10
10
10
10
Example 4: pentatonic pattern using five-note groupings
" " ! ' " " " " " " " " " " " " " " " " " " " " " " " 5
# $
5 5 5 5
5
7
5
8
7
5
7
7
7
5
8
5
7
8
8
7
7
7
8
" ! " " " " " " " " " " " " " " " " " " " " " " " " " " % ! 8
# $
8
5
5 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
! " """"""" """""""" """""""" """""""" """""""" """""""" #" % ! (
Tom Lippincott
66 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
# $
1
3
3
5
7
3
5
3
5
5
7
8
5
6
5
6
7
8
10
8
7 6
8 10
12
8 1 10 0
8
10 12
13
15 13 12
8 1 0 12 12
15 13
" " " " " " " " " " " " " " " " " " " " " "" " " " "" " " "" " "" ! " " " "" " """"% # $ 13 12 10
12
10 10
12 10 10 8
13 12 10
8
10 8
12 10 8
7
6
8
10 8 6
7
5
7
5
8 6 5
5
3
3
5 3 1
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
10
8
10
7
9
7
8
10
7
10
9
10
7
9 7
7
9
10
10
8
10 9
10
10
9
10
7
8
7 8
10
8
9
7
7
9
) " ) " ) " ) " " " ) " ) ) " ) ) " " " " " " " " " " " " " " " "
10
10
8
) " ! " " )" " " )" ")" " ")" " )" " ")" ")" " ")" ")" " ")" ")" " ")" )" " ") ")" )" ") * " " " " " ! " " " # $ 10 7
8
8 5
7
10 6
8
7
10
9
8
10 7
10
9
9
10 7
10 7
9
9
7
10 7
10
9
8
10 7
10 7
9
8
7
10 7
10
8
8
10 7
8
Tom Lippincott
67 Example 8: implying groupings of seven by using accents on groupings of four notes
) ) " " ) " ) " " " ) " ) " ) " " " " " " " "
" ! ) )" " ) " " )" )" " )" " " )" " )" " )" " " )" " )" " " " " # $
7
10
7
9
8
10
7
7
9
7 7
9
9 7
7
10
10
7
9
9
8
10
8
9
10
10
10
8
10
10
9
10
10
7
8
7 8
10
8
) " " ) " " ! " " " )" " " )" ")" " )" " " )" ")" ")" " ")" ")" ")" " ")" )" ")" ")" ) " " "" 10 7
8 8
# $
5
) " " " " %
7 10 6
10
8 7
9
8 9
10 7
10 7 10 7
9
10
9 9
7 10 7
10
9 8
10 7 10 7
9 8
7 10 7
10
8 8
10 7
Example 9: Implying groupings of five on a three-note pattern (sus triads)
$ " " " " " " ! ! ! " " " " " " " " ! " " " " " " " " "# #" " # 1
3
1
8
10
8
12 12 14
12
10
9
10
10
8
6
5 7
5
4
7
5
3
3
1
# $ Example 10: Implying groupings of seven on a five-note pattern (fo (four-part-4ths) ur-part-4ths) over a II V I VI progression (uses pattern from ex. 38c of Melody section) two extra beats
C^ A7 D-7 G7 + " " " + " " " ! " " " " # " + #" + " + " " " " " # " "* " " " " ," $ D-7
7
# $
6 9
9
10
6
6
3
5 6
3
5 8
5
7 9
8
7
9
5
7
7
6 2
3
8
10
Tom Lippincott
68
2. Eighth note triplets Example 11: (play all rhythms both short and long) All 3
2nd triplet
3rd triplet (swing upbeats)
first triplet (downbeats)
" " " " " " " " """"""""" """ " " " " ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ! # # # # # # # # ( # # # # 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")
Eb7
Bb-7
F-7
" ! + +"" "" "" "" +" + " # $
8 6 8
8 6 8
8 6 8
4fr
"* + +" " + "
"* "
"* " ! ! ! +( + "" ""* "" " " !
6 6
6 6
6 6
6 6
6 6
6 6
6
6
6
6
6
6
first triplet
8 6 8
Ab^ 5fr
6fr
6fr
""* ""
3
3
3
second triplet
third triplet (anticipated)
6 5 6
6 5 6
6 5 6
6 5 6
6 5 6
Etc.
""* "" " " " " + " " " " 3
first triplet
6 5 6
6 5 6
5 5
5 5
5 5
5 5
4
4
4
4
Example 13: four-note four-part-4th pattern played with with eighth-note triplets (uses Ex. 9 from Melody section)
! % " " " " " " " " ! " " " " " " " " " " " " " " " " " " " " 3
3
1
# $
3
3
12
10
10 12
3
10
8
9 10
3
8
6
7 9
3
7
5
5 7
5
3
4 5
3
3
1
3
12
12 14
14 15
Tom Lippincott 69
Example 13a: four-note pattern played with eighth-note triplets, displaced
" % " " " " " " " " ! ( " " " " " " " " " " " " " " " " " " " " # 3
3
# $
3
1
1
3
7
3
7
6
7
3
5
5
5
5
3
3
4
3
3
10
10
10
10
3
8
8
9
9
3
12
12
12
12
12
14
14
15
Example 13b: four-note pattern implying groupings of five by doubling the length of the ffirst irst note of each group
" $ " " " " " " " " " " " ! " " " " " " " " # " " " " #" " " " " # " " # # # 3
3
# $
1
1
3
3
3
4
3
3
7
3
3
8
8
9
9
3
3
7
6
7
7
3
5
5
5
5
12
12
12 12
3
10 10
10
10
3
12
12
14
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
12
10
12
12 14
12
10
14 15
12 14
10 12
10
3
3
10
8
9 9
9
3
8
7 6
7 7
7
3
5
5 5
5
3
5
3
4 3
3
3
1 1
3
Example 14a: mixing four-note and five-note patterns for displacement ef effect fect five-note patterns
% " " " " " " " " " " " ! " " " " " " " " " " " " " " " " " " " " 3
3
3
3
3
3
3
3
3
3
four-note patterns
# $
5
7
7
9
10
12
12
10 14
12
10
9
7
5
4
12
10
8 8
6
5
3
1
7
5
3
1
12
14
14
15
Tom Lippincott
70 Example 15: combinations of two eighth-note triplets second and third (displaced swing 8ths)
First and second (reverse swing)
First and third (swing 8ths)
" " " " " " " " " " " " " " " " " " " " " " " " ( ( ( ( ( ( ( ( ( ( ( ( !# ## ## ## # 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 2 2
3 2 2
5 4 3
5 4 3
3
6 5 5
6 5 5
3
8 7 7
8 7 7
"" "" "" "" "" "" "" "" # # # # 3
3
10 9 9
10 12 9 10 9 10
12 13 10 12 10 12
3
3
13 15 12 14 12 14
15 14 14
"" "" "" "" "" "" " " " " " " " " " " " " " " " " " " " "# " "# " " " " $$ ( # # 3
17 17 16 16 15 15
3
17 15 15 16 14 14 15 14 14
3
15 13 13 14 12 12 14 12 12
3
13 12 12 12 10 10 12 10 10
3
10 10 9 9 9 9
3
8 7 7
8 7 7
3
6 5 5
6 5 5
3
5 4 3
5 4 3
3 2 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^
8fr
chord
" ! + + + %% ! !!
Ab^sus 9fr
+ ""
%% + + +%% %
A¨ major
scale
# $
9 8 8 8
9 9 10 10
9 9 10 10
4 4 6 5
F-^ 3fr
""" + + + %%% ! !! 4 4 6 5
Ab/Db 6fr
8fr
+ " ! % + ! +-%%% ! +" F melmin A¨^
E¨7
B¨-7
F-7
basic harmony
Ab^ 4fr
3 4 6 6
8 6 9 6
9 9 8 10
Tom Lippincott
C^sus 10fr
% " ! %
A¨ major D¨^
D-7
9 9 8 10
# $
12 10 10 10
%%% ! ! !
%%%% ! ! !
""
G7
12 10 10 10
""" "
C major C^
8 4 10 5
G/C
71
Bb/Eb
3fr
7fr
5fr
- %%
G/C
C/D
G/C
7fr
6fr
%% "" + % %% ! !! + %
%%% %
C-7 8 8 7 9
7 3 5 5
7 3 5 5
8 7 10 7
10 6 8 8
8 8 7 9
Example 17: dotted eighth notes implying 3/8 time, second A ssection ection to "All the Things"
C-7sus 10fr
10fr
" ! + "" ! !!
chord
"" "#
scale
# $
13 11 12 10
13 10 12 10
D-7
G-7sus
"" "" "# " E¨lydian
# $
11 8 10 8
+"""
8 5 7 5
6 3 5 3
10 8 8 6
11 9 10 8
9 7 8 6
F-7sus Ab^sus#4 Ab7sus#4 6fr
3fr
B melmin 9 7 8 5
8 6 7 6
8 6 7 6
9 7 8 6
Gb+^sus#4 F-7sus 7fr
9fr
6fr
"""" + + " """ ! !!
E¨ mel min
E¨ major
D7
A-7 6 4 5 3
"" ,,, """ ! !! "
"" - ,"" " , #"
*"" + + "" !! "" ! ! + + +"""" """" + """" # " " ! +" ! # 6 3 5 3
6fr
B¨7
A¨^ 8 5 7 5
G#Øsus
4fr
6fr
E¨major F-7
11 8 10 8
13 10 12 10
6fr
8fr
"" + + + "" ! !! +"" ! + +"" + " ! + "# "#
3fr
E¨^ 8 6 7 5
"" + +"" " "
C-7sus 5fr
5fr
" ! """ ! ! !
8fr
C-7
basic harmony
C#-7sus
G-7sus F-7sus Bb-7sus Ab^sus#4 Eb^
10 8 8 6
11 9 11 12
11 9 11 12
10 7 10 10
10 7 10 10
8 6 8 8
Tom Lippincott
E-7sus
72
A7sus 5fr
F#-7sus 5fr
" ! """" ! ! !
B-7sus
7fr
7fr
10fr
"""" , " "" ! !! #
,, """"
""" """ #
D^sus
%, %%
Glydian
G^ 7 5 7 7
# $
5 5 7 5
5 5 7 5
9 7 9 9
9 7 9 9
7 7 9 7
10 10 12 11
Example 18: Quarter-note triplets written as:
Leave out unaccented notes
Accent every other triplet
3
3
! )" " )" " )" " )" " )" " )" " "# ( "# ( "# ( "# ( "# ( "# ( " " " " " " 3
3
3
3
3
3
3
3
displaced Quarter-note triplets Accent every other triplet, starting with 2nd triplet
% ) ) ) ) ) ) " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " ( ( ( ( ( ( ( ! # # # # # # 3
3
3
written as:
Leave out unaccented notes 3
3
3
3
3
etc.
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 single note pattern (sus triads)
" ! " ! " " " " " " " " " " " " " " " " " " " " " " " " " " " " ! & # ' $# "# !
3
3
quarter-note triplets
5
7
9
3
3
8 10
10
5
6
8 9
3
5
7
8
7 6
5
3
displaced quarter-note triplets
5
3
1 1 4
3
3
3
3
7
7
3
5 5
! & '
Tom Lippincott 73
Example 18b: shifting between Quarter-note triplets and displaced quarter-note triplets with chords (four-part-4ths)
G7sus A-7“ BØsus
C^ 5fr
3fr
" ! "# ! "" " ! # $ # !
1 1 0 0
""
"" "" "" "
3 3 2 2
5 5 4 3
3
10fr
"" "" " "" " "
"
10 10 9 9
12 12 10 10
3
3
8 8 7 7
7 6 5 5
8 8 7 7
7 6 5 5
5 5 4 3
7 6 5 5
5 5 4 3
9fr
7fr
3
3 3 2 2
E-7sus F^sus#4
D-7“
" ! " "" " "" "" "" "" "" "" "" "" "" "" "" "" 3
# $
12 12 10 10
3
10 10 9 9
10 10 9 9
8 8 7 7
3
10 10 9 9
8 8 7 7
7 6 5 5
8 8 7 7
8 8 7 7
7 6 5 5
! & '
3
7 6 5 5
5 5 4 3
7 6 5 5
5 5 4 3
! ! & '
3 3 2 2
Example 19: quarter-note triplets grouped in fou fours rs for polyrhythmic effect effect over II V I progression
(notice articulations help reinforce the polyrhythmic effect)
Eb7sus4 Db^sus#4 C-7sus Bb-7sus 13fr
11fr
. " + + " ! + +" + +/"" + "". 3
D#Øsus4 C#-7sus B7sus4 A^sus#4
8fr
10fr
12fr
/" "". /"" + "". + +/" ,, ,"". ,- ,/"" -- ". " + " - , ,-" 3
3
A¨ major
# $
3
7fr
/," + +-$$ -"
E melodic minor A¨^
E¨7
B¨-7 14 13 13 13
9fr
11fr
13 12 11 11
11 10 10 10
9 8 8 8
14 13 13 13
13 12 11 11
11 10 10 10
9 8 8 8
14 13 13 12
12 11 11 11
10 9 9 9
9 8 7 7
8 8 8 8
Tom Lippincott
74
Example 20: Half-Note triplets Accent every 4th triplet (1st of beat 1, 2nd of beat 2, 3rd of beat 3)
written as:
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
Note that, in each case, there is one of each (1st, 2nd, and 3rd triplets)
3
3
3
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
""
""
""
" ! " ! "" #
12fr
10fr
non-displaced
"" "" "" "" "" "" "" ( ( ( # ( ( ( # ( ( ( # (( 3
# $ "# !
" ! ""
""
""
3rd triplet of 1
# $
10 10 9 9
12 12 10 10
13 13 12 12
3
3
8 8 7 7
10 10 9 9
""
8 8 7 7
8 8 7 7
""
""
3
12 12 10 10
12 12 10 10
10 10 9 9
8 8 7 7
"" "" " "" ( ( "# ( ( ( "# ( ( ( # ( 3
8 8 7 7
13 13 12 12
12 12 10 10
10 10 9 9
8 8 7 7
3
3
3
10 10 9 9
10 10 9 9
12 12 10 10
"" "" "" ( # ( ( ( # (( ( ( ( # (( ( ( 3
3
3
3
12 12 10 10
10 10 9 9
8 8 7 7
13 13 12 12
downbeat of beat 2
"" "" "" "" ! & ( ( ( # ( ( ( "# ( ( ( # ' 3
3
12 12 10 10
2nd triplet of 1
13 13 12 12
8 8 7 7
3
10 10 9 9
3
12 12 10 10
! & '
Tom Lippincott
75 Example 21: "clave" for 5/4 and 7/4 time
1
2 3
4 5
2 3 4 5
1
1
2 3
4 5
6
1
7
2 3 4 5
7
6
! '0 ( ( ( ( ( ( ! ( ! ( ( ! '1 ( ( ( ( ( ( ( ) ) ( ! ( ! Example 22: ways to break out of the "clave prison" in 5/4 Ex. 22a 1 2 3 4 5 1 2 3 4 5
Ex. 22b 1
Ex. 22d
4
1
Ex. 22e 1
2 3 & 4 5
3
4 5
! ( ( ( ( ( ( ( 4
3
) ) ! ( ( ( ( ( ( ( ( ( ( ( (
2
3
3
& 4
5
! ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (
two over five polyrhythm
broken down into four equal groups gr oups of five 16th notes
Ex. 22f
Ex. 22g 2
1
3
4
&
3 * * 2 ! ! ! ( ( ! ( ( ( ( ( ( ( ( 4( 1
5
! ( ( ( ! ( ( ( ! ( (
2
3
&
5
4
4:5 polyrhythm against quarter notes
4:5 polyrhythm Ex. 22i
Ex. 22h 1
2
play last two beats as three quarter-note triplets
can also be thought of as a 4:3 tuplet
halfway point
2 3 4 5
! ( ! ( ! ( ( (
! '0 ( !( !( !( !( ( ( ( ( ( ( ( 4 dotted eighths take up 3 beats of space
Ex. 22c 1
2 3 4 5
1
2 3 4 5
1
2 3 4 5
1
1
2 3 4 5
2 3
4 5
! ( ) ! ( ( ( ) ( ( ( ) ! ( ( ( ( ) ( ( ( ) (
! ) ( ( ) ( ( ( ( ) ( ( ) ( (
five dotted half notes filling three bars
five half notes filling two 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 1 23
Ex. 22m
! 5 ! !4 ( #( ( !( !( ( ( ( !( !( ( ( ! ( !( ( # ( ( ! 5 ! !4 ( ( !( !( ( ( !( !( ( 1 2345
anticipate beat one
1 234 5
45
anticipate beat 4 (implies 5/8)
1 2345
1 2345
quarter note anticipation of beat one
Tom Lippincott
76 Ex. 22o
Ex. 22n
* * ! (( ( ( (( ( ( (( ( ( (( ( ( ( ( ( ( ! (( ( ( ( ( ( ( ( ( ( ( 3
3
3
3:5 polyrhythm against quarter notes 15 eighth-note triplets in groups of five
3
3
3
3
3:5 polyrhythm written against quarter notes
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