BT SUM05.Back 5 12 D - Ed Saindonedsaindon.com/documents/exploration_in_rhythm_berklee.pdf · on...
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Berklee today 20 Professor Ed Saindon is an active clinician and an editor for the Percussive Arts Society’s magazine Percussive Notes. His latest recording, Depth of Emotion, is a quartet outing featuring Saindon on vibes, piano, and marimba and Dave Liebman on soprano sax. Visit www.edsaindon.com. changeable; both are correct. The term cycle indicates the time it takes for a rhythmic unit to play from beginning to end and begin again on the downbeat of a succeeding measure. For example, eighth notes phrased in four in 3/4 time require two measures before the rhythmic unit begins again on the downbeat of the third measure. This two-measure cycle will consist of three units of eighth notes phrased in groups of four (see example 1 on page 21). Working with Rhythmic Phrasing Try improvising using the rhythms of the vari- ous musical examples. At first, try playing the rhythms using a specific scale. The more you practice and hear these rhythmic groupings, the more they will naturally appear in your improvisations. The ultimate goal is to play these rhythmic units over the chord progres- sion of a composition. The improviser is also encouraged to learn to start a rhythmic grouping on any beat or on any partial of any pulse in the measure as opposed to always beginning the cycle on beat one. As an improviser, you should always know where you are in the form of the song and where beat one is in every measure. In addition, move freely between various rhythmic units based on rhythmic pulses such as eighth notes, triplets, and sixteenth notes with- out necessarily completing the cycle of each rhythmic unit. The musical examples illustrate several ideas to develop rhythmic phrasing. Examples 2 through 4 show one-measure cycles of eighth notes phrased in three in 3/4 time with accented notes, rests, and rhythmic subdivisions. Examples 5 and 5a show a three-measure cycle of eighth notes phrased in three in 4/4. Examples 6 and 6a show a four-measure cycle using triplets phrased in four in 4/4. Example 7 has a five-measure cycle of triplets phrased in five in 4/4. Example 8 is another five-measure cycle employing sixteenth notes phrased in five in 4/4. Example 9 is a five-measure cycle of quarter-note triplets phrased in five in 4/4. “Étude” combines some of the rhythmic Many improvisers work on developing their improvisational skills primarily by exploring techniques related to note selection. While note choices, level of harmonic sophistication, and technical facility contribute greatly to a player’s overall sound and voice, rhythm is an often overlooked component in the study of improvisation. Rhythm is usually last on the list of priorities of a player seeking to develop an identifiable personal style, yet the world of rhythm offers improvisers and composers many untapped possibilities. More often than not, improvisers resort to playing lines made up predominantly of eighth notes. Additionally, when a player lacks awareness of phrasing and/or chooses phrase lengths that are repetitive and con- stricted by the chord progression, his lines tend to be monotonous, predictable, and hemmed in by the bar lines. Considering rhythmic phrasing offers the improviser free- dom from the bar line. The goal of this arti- cle is to help you integrate concepts of rhyth- mic phrasing into your playing so that intro- ducing rhythmic variety becomes part of your natural vocabulary in the improvisational or composing process. Further, working on rhythmic concepts improves your time feel, ability to hear longer phrases, and overall sense of form. And better time feel helps you hear more interesting rhythms that float over the bar lines without restriction. The term rhythmic phrasing refers to a grouping of notes or rhythmic unit based on a specific rhythmic pulse such as eighth notes, triplets, or sixteenth notes. Depending on the time signature, rhythmic pulse, and rhythmic unit, the phrasing generally crosses the bar line and obscures the overall sense of time. You can use several techniques to create a rhythmic unit. As shown in the examples on page 21, the rhythmic unit is shaped through the use of accents, rests, partial subdivision, and pitch. In all the examples, the initial rhythmic unit will be indicated with a brack- et. Expressions such as “triplets phrased in four” and “triplets grouped in four” are inter- by Professor Ed Saindon ’76 A creative approach with rhythm adds life to the phrasing of improvised lines. ideas discussed above (see example 10). The cir- cled numbers indicate the number of notes and/or rests in each rhythmic grouping. The piece begins, for example, with triplets phrased in four (a one-measure cycle). Measure two begins with triplets phrased in five (a five-mea- sure cycle), and so forth. I encourage you to create your own varia- tions based on the concept of rhythmic phras- ing. While this article includes a random sam- pling of rhythmic units with various pulses in 3/4 and 4/4, other possibilities would include the use of different time signatures, polyrhythms, and rhythmic units with two to seven notes. An in-depth treatment of this sub- ject can be found in my book Exploration in Rhythm, Volume 1, Rhythmic Phrasing in Improvisation. GOT RHYTHM? DICK LORD
Transcript of BT SUM05.Back 5 12 D - Ed Saindonedsaindon.com/documents/exploration_in_rhythm_berklee.pdf · on...
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Professor Ed Saindon is an active clinician and aneditor for the Percussive Arts Society’s magazinePercussive Notes. His latest recording, Depth ofEmotion, is a quartet outing featuring Saindonon vibes, piano, and marimba and Dave Liebmanon soprano sax. Visit www.edsaindon.com.
changeable; both are correct.The term cycle indicates the time it takes
for a rhythmic unit to play from beginning toend and begin again on the downbeat of asucceeding measure. For example, eighthnotes phrased in four in 3/4 time require twomeasures before the rhythmic unit beginsagain on the downbeat of the third measure.This two-measure cycle will consist of threeunits of eighth notes phrased in groups offour (see example 1 on page 21).
Working with Rhythmic Phrasing
Try improvising using the rhythms of the vari-ous musical examples. At first, try playing therhythms using a specific scale. The more youpractice and hear these rhythmic groupings,the more they will naturally appear in yourimprovisations. The ultimate goal is to playthese rhythmic units over the chord progres-sion of a composition.
The improviser is also encouraged to learn tostart a rhythmic grouping on any beat or on anypartial of any pulse in the measure as opposed toalways beginning the cycle on beat one. As animproviser, you should always know where youare in the form of the song and where beat oneis in every measure.
In addition, move freely between variousrhythmic units based on rhythmic pulses such aseighth notes, triplets, and sixteenth notes with-out necessarily completing the cycle of eachrhythmic unit.
The musical examples illustrate several ideasto develop rhythmic phrasing. Examples 2through 4 show one-measure cycles of eighthnotes phrased in three in 3/4 time with accentednotes, rests, and rhythmic subdivisions.Examples 5 and 5a show a three-measure cycleof eighth notes phrased in three in 4/4.Examples 6 and 6a show a four-measure cycleusing triplets phrased in four in 4/4. Example 7has a five-measure cycle of triplets phrased infive in 4/4. Example 8 is another five-measurecycle employing sixteenth notes phrased in fivein 4/4. Example 9 is a five-measure cycle ofquarter-note triplets phrased in five in 4/4.
“Étude” combines some of the rhythmic
Many improvisers work on developing theirimprovisational skills primarily by exploringtechniques related to note selection. Whilenote choices, level of harmonic sophistication,and technical facility contribute greatly to aplayer’s overall sound and voice, rhythm is anoften overlooked component in the study ofimprovisation. Rhythm is usually last on thelist of priorities of a player seeking to developan identifiable personal style, yet the world ofrhythm offers improvisers and composersmany untapped possibilities.
More often than not, improvisers resort toplaying lines made up predominantly ofeighth notes. Additionally, when a playerlacks awareness of phrasing and/or choosesphrase lengths that are repetitive and con-stricted by the chord progression, his linestend to be monotonous, predictable, andhemmed in by the bar lines. Consideringrhythmic phrasing offers the improviser free-dom from the bar line. The goal of this arti-cle is to help you integrate concepts of rhyth-mic phrasing into your playing so that intro-ducing rhythmic variety becomes part of yournatural vocabulary in the improvisational orcomposing process.
Further, working on rhythmic conceptsimproves your time feel, ability to hear longerphrases, and overall sense of form. And bettertime feel helps you hear more interestingrhythms that float over the bar lines withoutrestriction.
The term rhythmic phrasing refers to agrouping of notes or rhythmic unit based on aspecific rhythmic pulse such as eighth notes,triplets, or sixteenth notes. Depending on thetime signature, rhythmic pulse, and rhythmicunit, the phrasing generally crosses the barline and obscures the overall sense of time.
You can use several techniques to create arhythmic unit. As shown in the examples onpage 21, the rhythmic unit is shaped throughthe use of accents, rests, partial subdivision,and pitch. In all the examples, the initialrhythmic unit will be indicated with a brack-et. Expressions such as “triplets phrased infour” and “triplets grouped in four” are inter-
by Professor Ed Saindon ’76
A creative approach with rhythm adds life to the phrasing of improvised lines.
ideas discussed above (see example 10). The cir-cled numbers indicate the number of notesand/or rests in each rhythmic grouping. Thepiece begins, for example, with triplets phrasedin four (a one-measure cycle). Measure twobegins with triplets phrased in five (a five-mea-sure cycle), and so forth.
I encourage you to create your own varia-tions based on the concept of rhythmic phras-ing. While this article includes a random sam-pling of rhythmic units with various pulses in3/4 and 4/4, other possibilities would includethe use of different time signatures,polyrhythms, and rhythmic units with two toseven notes. An in-depth treatment of this sub-ject can be found in my book Exploration inRhythm, Volume 1, Rhythmic Phrasing inImprovisation.
GOT RHYTHM?
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Ex. 1
Ex. 8
Ex. 9
Ex. 4
Ex. 5
Ex. 5a
Ex. 6
Ex. 6a
Ex. 7
Ex. 10
Ex. 2
Ex. 3
Examples 2 through 4 show ideas for phrasing eighth notes in three in 3/4.
Rhythm unit with accents
With rests
With partial subdivision, rests With pitches
With rests and pitches
With acents and pitches
Examples of Rhythmic Phrasing
(Brackets indicate the rhythmic unit.)
Eighth notes phrased in four in 3/4 time
Etude
All musical examples by Ed Saindon ©2007All rights reserved.
Three-measure cycle of eighth notes phrased in three in 4/4 with rests
Four-measure cycle using triplets phrased in four in 4/4 with rests
With pitches
With pitches
*Circled numbers indicate the number of notes and/or rests in each rhyth-mic grouping.
Five-measure cycle of triplets phrased in five in 4/4 with pitches and rests
Five-measure cycle with sixteenth notes phrased in five in 4/4
Five-measure cycle of quarter-note triplets phrased in five in 4/4
4 5
4
4
2
7
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