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Are they ways that we can identify, quantify and consciously develop and
jazz, funk, rock and other styles - that are vital to the musical experience -
good time-feel - the ‘swing’ - but direct talk of it was incomplete and contradictory,
and obfuscated. Intuitive development, once fleeting and then more secure.
Even some of the most articulate jazz critics and chroniclers will avoid a
penetrating discussion of swing and generally back themselves into a corner
when they are asked to engage in one.
Coker 1964, p 45
Silver 1994
Wishart 1996, p 26
The representation of standard notation’s limitation as a lattice, due to the ‘notational economy’ of ‘finistic’ division of pitch, timbre and
rhythmic subdivision. Exploration of all 3 dimensions of musical inconveniences and irrationals.
Jazz micro-timing may be broadly categorized into five reasonably separate groups.
3) Audio analysis, measurement and music software applications of swing 8ths (or jazz
quavers) (Cholakis 1995, Friberg & Sundström 2002 and Benadon 2006).
Off-beat emphasis
{t 0e ,t1e …t Xe }
! Quaver timings for performer e
E E
! T =" t *r
X [( x ) x ]
e=1
e e
where "r
e=1
xe = 1!
Determined by weighted
average of all performers
! !
Monday, 28 February 2011
Implications of
Hierarchy
" SP = !(
1 *## 1
2 X ,+$$ E
&
'
)
&2 ## 1
' $$ E
(
&
'
)
&2
'
## 1
$$ E
(
&
'
)
&2 - !
,%% S01 + S0 2 +!+ S0 E ( ) µ SP ( + %% S21 + S2 2 +!+ S2 E ( ) µ SP ( +!+ %% S X )21 + S X )2 2 +!+ S X )2 E ( ) µ SP ( /
' /.
2
$ (t # T ) '
X /2
*& (T # T ) )
2x 2x
x=0 % 2 x+2 2x (
" LP = !
2X
X /2
1
WP = "
2X x=0
dBt 2 x+1 ,t2 x ! where dBt1 ,t 0 is the dB differential of t1 and t0
!
SD Weighting of Phrase P over X quavers
! X /2
1 2
" WP = $
2 X x=0
(
dBt 2 x+1 ,t2 x #WP ) !
OFFBEAT
PLACEMENT
Although short, this continuous sequence of quavers is performed along one string and with
alternating down-up picking, so technical considerations are unlikely to influence execution
significantly.
The passage also has unmistakable gypsy-jazz feel, so it is of value to discover the contributing
time-feel components.
The tempo of the quavers allows a wide range of swing values.
Listen to 50%, 59%, 66.% and 75% with all articulation, timbral and weighting effects removed
Extract, sequences and clicks
Audio 1 plays the phrase with 59% swing, followed by a faithful rendering of each swing
value (rounded to the nearest 1%) very subtle more even quaver ‘kick’ at the end of the
phrase
Audio 2 plays the last two quavers at 59% then 54% swing) but this 5% distinction(<15ms) is
difficult to hear in isolation even with directed attention.
. The song is characterised by an offbeat keyboard stab, and Jackson’s direction to the music director and
keyboardist Michael Bearden concerning the placement of this offbeat provides a remarkable insight into
his attention to time-feel and means of communicating it to his band. The language employed is a neat
illustration of the separation of swing and latency outlined in the SLW model.
For the purposes of this study it will describe it as a 2nd quaver with 66.% swing.
The distinction has little bearing on the substance of the analysis, but this
choice has been made to keep terminology consistent.
Jackson’s instructions ‘little drag’ and play ‘a little more behind the beat’,
‘like you’re dragging yourself out of bed’ - evocative description of performing
latency
89bpm, three repetitions of the swing values of 68%, 71% and 73% are played
sequentially (panned right) against the baseline 66.67% triplet quaver (panned
left) while a click (panned centre) marks the pulses.
In the author’s experience the panning effect is barely noticeable at 68% but
clearly identifiable at 71% and above.
However, if the drummer did in fact feel compelled to accommodate the significant latency
with a reduction in tempo, this would suggest that the governance of tempo is not entirely his
responsibility.
Using the terminology of the SLW model this would imply that master timeline determination
is not a monopoly but an oligopoly:
The latency of Bearden’s (implied) onbeat actually stretched the master time-line, so Moffett
did not accept total responsibility for its placement. In this example the situation is tenuous, but
the calculation may as well be completed: A 2% drop in tempo was caused by a 13% latency, so
for that bar, the hierarchical weighting of master time-line determination would be calculated as
Moffett: ≈85%, Bearden ≈15%.
The 70-73% range would appear to cover Jackson’s desired feel, a no-man’s land (or
obtusely written) area of standard notation, but a perceptual and effective musical
experience nonetheless.
Research of this kind is a powerful tool in the identification of the practitioner’s intention -
Listen to extract.
Listen:
1) As above 2) All swung 3) All straight
4) Meet in the middle 5) As above
aspects of performance.
Seminal electric guitar piece but challenging to reproduce with complete authenticity.
The idea that time-feel can change significantly from phrase to phrase adding another
(generally-missed) structural level.
Straight (<53%)
Light (53-56%)
Medium (56-63%)
Heavy (>63%)
Straight (50%)
Light (55%)
Medium (62%)
Heavy (69%)
(60:50)
Semiquaver/Quaver Swing
(50:60)
part of the virtuosity in its execution and the challenge in its convincing
reproduction.
Generalises some of the details of the passage (in particular the swung and late quaver pair in
bar 5, beat one) but much of the feel is captured
m.mermikides@surrey.ac.uk
http://scribd.com/mmermikides
miltonmermikides.com
PA40