Re: [Harp-L] Swing

[The Iceman <icemanle@xxxxxxx>]

Perhaps I meant Metric Rhythm....


"Metrical rhythm, measured rhythm, and free rhythm are general classes of rhythm and may be distinguished in all aspects of temporality (Cooper 1973, 30). Metrical rhythm, by far the most common class in Western music, is where each time value is a multiple or fraction of a fixed unit (beat, see paragraph below), and normal accents re-occur regularly, providing systematical grouping (measures, divisive rhythm). Measured rhythm is where each time value is a multiple or fraction of a specified time unit but there are not regularly recurring accents (additive rhythm). Free rhythm is where there is neither (Cooper 1973, 30). Some music, including chant, has freer rhythm, like the rhythm of prose compared to that of verse (Scholes 1977). Some music, such as some graphically scored works since the 1950s and non-European music such as Honkyoku repertoire for shakuhachi, may be considered ametric (Karpinski 2000, 19). Senza misura is an Italian musical term for "without meter", meaning to play without a beat, using time to measure how long it will take to play the bar (Forney & Machlis 2007,[page needed])."



-----Original Message-----
From: Jerry Deall <jdeall@xxxxxxxxxxx>
To: The Iceman <icemanle@xxxxxxx>
Cc: harp-l <harp-l@xxxxxxxxxx>
Sent: Thu, Sep 12, 2013 5:59 pm
Subject: Re: [Harp-L] Swing



METRIC!!!, we are not a metric nation because of the blues.
It's I'll walk a mile for my baby, not a kilometer.  It's every inch of my love, not every centimeter.

Now you know why the US is not a metric nation.


Thanks Jerry, 



From: "The Iceman" <icemanle@xxxxxxx>
To: harp-l@xxxxxxxxxx
Sent: Thursday, September 12, 2013 1:05:42 PM
Subject: Re: [Harp-L] Swing

I consider the metric time to be the foundation, cast in cement.


Music floats over this foundation and is not strictly attached to it, although it looks down on it in order to keep the reference points in mind.


Listen to how Frank Sinatra phrases when he sings.



-----Original Message-----
From: Joseph Leone <3n037@xxxxxxxxxxx>
To: Tin Lizzie <TrackHarpL@xxxxxxxxxxxx>
Cc: Harp L Harp L <harp-l@xxxxxxxxxx>
Sent: Thu, Sep 12, 2013 1:46 pm
Subject: Re: [Harp-L] Swing


Thank you lizzie, I loved this demonstration and it brings to mind something I 
had said eons ago. And while this video wasn't aimed at music READERS (per se) 
but concentrated on real PLAYING, a lot of what can be done with the timing 
really comes down to the RESTS. The rests determine the timing, and therefore 
the phrasing. So, what I'm talking about is:

When looking at music, it has rests. These are (usually) 1/8, 1/4, 1/2,  3/4, 
full, and then multiples of full. There is nothing in the music police force 
that dictates a law: TO WIT: ALL rests must be measured as is, and to do 
otherwise is a felonious attempt with intent to mope and gape. Punishment to be 
38 lashes with a wet noodle. 

There is NO reason not to DOT the rests. In other words change some of them to 
accommodate what YOU like the music to sound like. Exmple: change a 1/4 to a 
5/16ths, change a 1/2 to a 3/8ths..or even a 7/16ths. Change a 3/4 to an 
11/16ths, a 13/16ths. a 7/8ths. In other words..stop being WELDED into the 
timing. Lee Sankey showed this very well indeed. And this is what separates the 
champs from the chumps. 

smo-joe   end of rant

On Sep 12, 2013, at 12:20 PM, Tin Lizzie wrote:

> The single best explanation/demonstration of âswingâ that I have ever heard is 
this video by Lee Sankey:
> 
> http://www.youtube.com/watch?v=qkn5i3D966M&list=PL05B9C6057A555E07&index=14
> 
> Tin Lizzie
> 
> 
> On Sep 12, 2013, at 11:34 AM, Miguel Weissman wrote:
> 
>> From: Miguel Weissman <harpburn2@xxxxxxxxx>
>> Date: September 12, 2013 9:23:05 AM GMT-04:00
>> To: "harp-l@xxxxxxxxxx" <harp-l@xxxxxxxxxx>
>> Subject: [Harp-L] Swing
>> Reply-To: Miguel Weissman <harpburn2@xxxxxxxxx>
>> 
>> 
>> I would break it down as simply as possible; define the many different 
variations of swing by choosing recordings .. then study drummers and the 
interaction between the rhythm section and the soloist. Chart it out in you mind 
or with tab! 
>> 
>> If you use a click track, that is great for understanding the concept and 
practicing learning to count, but not good for understanding interaction between 
players and how swing is interpreted by each player and each band as a whole. 
>> My choices is the Aces, Little Walther's band..and Count Basie's rhythm 
section.. maybe Django Reinhardt.
> 
>