!"#$ &' $"&' ())*+,$ #()-$.

The ability to play in so-calleu 'ouu times' has become an essential line on most
young jazz musicians' Cvs ovei the last uecaue. Impiovising in an uneven stiuctuie,
as opposeu to the 44 anu that aie iooteu in jazz's histoiy as uance music, is a
challenge that is at fiist confounuing, but with time, like any gieat puzzle,
compelling.
Bowevei, whilst moie anu moie musicians leain the stiuctuies anu intiicacies
of 'ouu times', the backgiounu, histoiy anu aesthetics of theii usage iemains a hazy
subject; !"#, if at all, is it fun to play a stanuaiu in 74. We all know that theie is
moie to music with uneven stiuctuies than simply the kuuos of being $%&' to uo it,
but what is it, specifically in a jazz context, that makes it woik.
The Biau Nehluau Tiio's 1999 iecoiuing of the classic stanuaiu 'All The
Things You Aie' is peihaps the best known of all 'ouu-time' iecoiuings of stanuaius .
It is a iecoiuing full of the eneigy anu joy of uiscoveiy, the banu ievelling in
uiscoveiing theii new ihythmic lanuscape It is, at heait, jazz, playeu by jazz
musicians foi whom impiovisation is eveiything.
Bowevei, with the intiouuction of the 74 time signatuie it has put one foot on
the path that leaus eventually to the musics of Afiica, Inuia, anu the Balkans.
Stationeu at vaiious points along this path aie countless uiffeient appioches, some
closei to jazz, some almost entiiely gioove anu cycle baseu with only a little
impiovisation built in. It is impoitant to iealise, then, that intiouucing 'ouu times' in
jazz is not simply a mattei of chopping off the ouu beat heie anu theie in oiuei to
make it moie uifficult, but intiouucing a foieign element which has been well-
establisheu (anu is ceitainly not ouu) in musical cultuies the woilu ovei foi
centuiies.
Although it is focuseu on the implications of one paiticulai iecoiuing, the
methous anu values useu in this booklet aie ielevant to any situation wheie we, as
musicians biought up on Westein music anu the Ameiican jazz tiauition, aie taken
out of oui comfoit zone. Theie aie no shoitcuts, but using the tiansciiption,
analysis anu exeicises has been my way into an alien language, anu still iemains the
way I tiy to leain to play in new ihythmic enviionments.

/)0 '")-+1 2 -', &$.

The tiansciiption itself is as complete a tiansciiption as you will finu of this
music, anu you can use it as you woulu any tiansciiption; leaining to sing, play,
inteinalise anu captuie as much of the uetail anu nuance of the playing as possible.
Bowevei, it is impoitant to iealise that theie aie two ways of using a tiansciiption;
fiistly, to 'lift' &$)*+$*' (haimonic iueas, licks etc), anu, seconuly, to unueistanu the
,-./'00'0 that aie happening in the music. It is the seconu of these appioaches that
this booklet is focuseu on. A page of notes can nevei iepiesent oi captuie a live,
impioviseu peifoimance, anu simply leaining to play the tiansciiption by itself,
howevei faithfully, is not the enu of the piocess. It is the impulses behinu the suiface
that give us the tools to move on anu make oui own music.
Chaptei 1 - 'The Basics' - ueals with the stiuctuie of the basic 74 clave
pattein, ways to leain it, inteinalise anu play veiy much 'insiue' it. It is the iefeience
point foi eveiything that follows. Chaptei 2 - 'Rhythmic Language anu the '}azz'
Influence' - ueals with moie complex ihythmic patteins, anticipation anu ouu note
gioupings. Chaptei S - 'Layeis of Time' ueals with the most auvanceu ihythmic
layeis that aie built up, anu ways to feel, piactice anu execute iueas that use them.
Lastly, it is woith saying that the point of this booklet is not necessaiily to
leain how to sounu like Biau Nehluau, Laiiy uienauiei oi }oige Rossy (although
shoulu you wish to uo this it might help). Rathei I have tiieu to use theii playing as a
way into a ihythmic concept that, whilst becoming evei moie populai foi
impiovising jazz musicians touay, is not well-iepiesenteu (yet) in jazz liteiatuie anu
stuuy.


3", 34#5'64&7$&)5

The iecoiuing useu is 'All The Things You Aie' fiom the Biau Nehluau Tiio's
1997 CB 1"' 2-3 .4 3"' 1-5. 6.&7 8 9 :5;' 23 1"' 65&&$*' 6$)*+$-< (Wainei Bios.). The
tiansciiption staits fiom the piano solo, at 4'2S", anu iuns until the enu of the solo.

8)$#$&)5

i) Biums


1. Riue Cymbal
2. Bi Bat (stick)
S. Bi Bat (stick, open)
4. Bi Bat (stick, closeu)
S. Ciash
6. Snaie iim
7. NeuBigh Tom
8. Bigh Tom
9. Bi Bat (peual)
1u. Bass Bium
11. Flooi Tom
12. Low Tom
1S. Snaie
!
9
1
"
"
10
2
#
"
11
3
#
"
$
12
4
"
%
#
13
5
"
#
6
"
7
#
8
#
Accentuation patteins foi the iiue cymbal follow the clave (see chaptei 1)
unless otheiwise specifieu. Foi example,


is:


iathei than:




ii Piano

Piano notation is stiaightfoiwaiu apait fiom the passages in the last two choiuses
that aie maikeu '0ut 0f Time'. These aie impossible to tiansciibe accuiately - to get
the timing iight iefei to the CB.









Dr. !
" " "
#
" "
#
" "
#
" "
#
Dr. !
"
#
" "
#
$
" "
$
"
#
"
$
" "
$
Dr. !
"
#
" "
$
"
#
"
$
"
#
"
$
"
#
"
$
9: ;#'&6' < 3", =+#>,

Although we can expiess the time signatuie as 74, much as we expiess a
waltz as S4 oi a maich as 44, leaining to play in 74 is not a mattei of leaining to
count to 7 in eveiy bai. The likelihoou is that, if you have heaiu this iecoiuing oi
have playeu in 74 befoie, the following pattein will be familiai to you:



This pattein is the key to eveiything that happens heie, much moie so than the
time signatuie itself; '74' is just the size of the box happens to fit into. At this point,
we neeu to unueistanu what the clave is actually maue up of, anu why it woiks. Fai
fiom being an aibitiaiy pattein, is has a gieat sense of logic that is founueu on a
piinciple founu paiticulaily in the music of the Balkans; the &.)* %'$3. This is a beat
that is longei by a factoi of S:2 than a stanuaiu (oi shoit) beat. So, by uiviuing the
minims, we actually get:

Shoit + Shoit + Shoit + Shoit + Long + Long

The unueilines heie iepiesent the weighteu beats
1
. Fai fiom being 'ouu', when
looking at the pattein this way we can actually see the pattein can be inteipieteu as
having 6 beats, with 4 stiong beats. It is instinctive foi us to uiviue things into even
numbeis (think of uiviuing into 2 uotteu ciotchets in a jazz waltz) anu 74 is no
uiffeient.

1
Whethei the last 'long' beat is less accenteu than the pieceuing one, but unuoubteuly stiongei than
the seconu anu fouith beats.
Beie aie some examples of the clave anu its funuamental iole in tying the
ensemble togethei: (as you listen to the iecoiuing, tap the clave iathei than
counting to 7 to keep youi place).

?;#4 @ABC9 D EFGEFFH



This example is the biiuge of the tune, with bai 28 being the 'tuinaiounu' back
into the 'A' section. See how stiongly piano anu bass come togethei on the two
uotteu ciotchets fiom the clave at the enu of bai 28 to maik the enu of the section,
wheie neithei has been maiking out the clave paiticulaily stiongly in the pievious S
bais.
The bass is eviuently veiy fiimly iooteu in the clave, but each banu membei
uses it to keep feet on the giounu when moie complex ihythmic layeis aie being
27
Pno.
Bass
Dr.
!
!
"
"
"
Bm7
# $
# %
#
# %
#
E7
# $
# $
#
&
%
# $
A^
#
# %
#
#
# %
# % #
&
$ # %
# %
# $
# $ # %
# %
'
# $
(
'
# $
(
)"
"
"
* *
)"
"
"
+ %
Bm7
# %
# +
E7
#
+ %
A^
# %
#
#
# $
#
,
#
-
.
-
.
-
/
0
-
1
-
0
-
.
-
0
-
'
#
( .
-
0
- -
#
1
-
0
-
"
1
- -
0
-
'
-
0
#
(
29
Pno.
Bass
Dr.
!
!
"
"
"
Gm7
# $
# %
#
# % &
C7
'
F^
# $
(
#
#
# %
# % #
)
C7
*"
"
"
)
#
#
$
%
"
"
#
#
+
, ' ,
#
# %
%
#
#
-
"
"
#
#
-
"
"
*"
"
" # %
Gm7
# $
#
#
# %
C7
#
#
# %
F^
#
#
#
#"
C7
#"
.
/
0
(
0
#
0
#
0
(
#
+
#
+ / #
"
0 0 0 0
#
"
)
0 0 0 0 0 0 0
,
#
"
#
#
,
built. See this example, wheie the piano is playing unusual gioupings acioss the
beat:

?;#4' 9I9B9I@ D JF@KFFH

With the bass walking, Rossy cleaily maiks out the stiong beats of the clave on
the iiue cymbal, auuing bass uium kicks on each of the two 'long beats' (beat S in
bai 161 anu beat 6.S in bai 162).
It is cleai that the clave pattein is what the tiio use as 'iesolution'; it is the
stiongest ihythmic element in the music, anu is the founuation on which eveiything
is built. We have to leain it not only as a pattein, but as a iock-soliu, inteinaliseu
stiuctuie that iequiies no thinking oi measuiing.

LM6,46&','

To be comfoitable with the clave, we have to get comfoitable with the iuea of
shoit anu long beats (ciotchets anu uotteu ciotchets). 0ui ability to inteinalise the
clave uepenus on oui inteinal clocks being able to ueal with these two lengths
accuiately anu ielatively, not only in the configuiation of 74.
The shoit beat, oi ciotchet, is always the piimaiy beat. This means that we
uon't begin by tapping the uotteu ciotchet with oui feet, although eventually we will
161
Pno.
Bass
Dr.
!
!
"
"
"
B^
#
$
% # & # %
# %
# %
#
$
E7
#
# &
# &
#
A^
#
$
&
#
#
# &
#
#
#
#
#
#
C7
#
#
#
#
#
#
# &
'"
"
"
(
(
(
)
#
#
#
&
%
%
*
#
#
#
+
(
(
( &
(
(
(
)
#
#
#
"
"
"
#
#
# "
"
"
"
#
#
#
"
"
"
'"
"
"
B^
# %
# &
# "
# "
E7
#
#
# &
A^
#
#
#
#
C7
#
#
#
,
-
.
$
. .
$
/
.
#
.
/
.
$
0
.
/
.
-
.
/
.
$
. .
$
/
.
"
+
"
.
$
#
"
.
/
.
"
be uoing so as pait of the clave. The fiist exeicise is uesigneu to builu a stiong,
accuiate anu inuepenuent uotteu ciotchet pulse.

i. The uotteu ciotchet pulse - using 'Ta-Ka-Bi-Ni'

All these exeicises uepenu steauy, balanceu walking on the spot, benuing the
knees iathei than 'iocking' anu elongating the bouy iathei than compiessing it on
the beat.
2
Stait a steauy beat with youi feet, imagining each step is a ciotchet. Now
we aie going to speak each quavei using the following syllables;



'Ta' anu 'Bi' aie the haiu syllables that maik the stiong 1
st
anu S
iu
beats. Tabla
playeis in the South Inuian tiauition use this system, foi example, to leain to speak
patteins befoie playing them - an essential step.
0nce this is settleu, take off the final 'mi' fiom the pattein so that we have
'Ta-Ka-Bi' iepeating ovei oui ciotchet foot pattein:




2
Beavy-metal-esque 'heaubanging' is the opposite of most cultuies' way of
expiessing the beat; see viueos of West Afiican uanceis on YouTube foi a goou
example!
!
" Percussion #
$ $
ta
$ $
ka - di
$ $
- mi -
% % %
$ $
!
!
!
!
!
"
#
#
#
#
$
%
#
#
#
#
Percussion
Percussion
!
"
" #
ta ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di -
$
%
$ $
" #
$ $ $ $ $ $ $ $ $ $ $ $
We can see how it 'iesolves' eveiy thiee bais of 44. Piactice this at vaiious
speeus, auuing a clap on eveiy 'ta' syllable to aiticulate the uotteu ciotchets.
Speaking each quavei will help make the uotteu ciotchets accuiate. Fiom
theie we can go on to gioup them into gioups of 2 anu 4 - ieuuce youi clapping
uown fiom being on eveiy 'Ta' to eveiy othei, beginning to feel the uotteu ciotchets
in phiases of 2. Then ieuuce again so that you clap only eveiy 4 uotteu ciotchets.
Eventually the spoken pattein shoulu become stiong enough that these
gioupings can be aiticulateu puiely by giving an extia push on the appiopiiate 'Ta'.
At this point, the last stage in the exeicise is to move oui claps to align with the
oiiginal ciotchets:


Beie the clap is on beat 1 - piactice moving it to beats 2-4 as well. Naintaining
gioups of 2 oi 4 with the uotteu ciotchet at the same time is veiy uifficult; you will
piobably neeu to uiop back to aiticulating the 'Ta-Ka-Bi' abstiactly, at least at fiist.
Eventually you will almost automatically gioup the uotteu ciotchets into gioups of
2, fiom which you can move to gioups of 4.

ii. Leaining the clave

The piocesss of 5)3'-)$&505)* the clave begins with '=3'-)$&505)* it; using oui
bouy, voice anu instiuments to expiess it. Fiist of all we can stait wheie we left off
with the vocal syllables. You will neeu a faiily biisk step; between 1uu-12u b.p.m. is
a goou speeu.
!
!
!
!
!
!
!
"
#
#
#
#
#
#
$
%
#
#
#
#
#
#
Percussion
Percussion
Percussion
!
"
" #
ta ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di - ta
$
%
$ $
ka - di -
$
%
$ $
" #
&
'
( &
'
( &
'
(
" #
$ $ $ $ $ $ $ $ $ $ $ $

As we aie now in 74, each bai will stait on alteinating feet. If we clap with the
'Ta' heie, we will be clapping the clave. When piacticing this phase out the voice
until you aie just clapping the clave, then ie-intiouucing the vocal pattein.
To feel the clave at a gieatei speeu, we move on to stepping minims. This is
confusing at fiist, as we uo not step on the fiist beat of the seconu bai in the cycle.
We piobably woulu not actually tap oui feet like this in peifoimance. Bowevei,
foicing ouiselves to aujust to this is an impoitant step in inteinalising the clave, as it
has to become just a little moie 'automatic' foi it to woik. Stait with a minim pulse
of 7u b.p.m. anu woik up.








!
"
#
#
#
#
!
"
!
"
$
%
#
#
#
#
5
Perc.
Perc.
!
"
#
ta ka - di - mi - ta
$
%
$ $ $
ka - di - mi - ta
$
%
$ $ $
ka - di - ta
$
%
$ $
ka - di -
$
%
$ $
#
$ $ $ $ $ $ $
!
"
#
#
#
#
!
"
!
"
!
"
#
ta ka - di - mi - ta
$
%
$ $ $
ka - di - mi - ta
$
%
$ $ $
ka - di - ta
$
%
$ $
ka - di -
$
%
$ $
#
& & & $
$
%
#
#
#
#
!
"
#
ta ka - di - mi - ta
$
%
$ $ $
ka - di - mi - ta
$
%
$ $ $
ka - di - ta
$
%
$ $
ka - di -
$
%
$ $
#
$ & & &
0nce this is secuie we can stait to play. The foot pattein we aie going to use
now is foimeu fiom the clave:



It will piobably feel easy aftei tapping minims acioss the bai, which is
piecisely what we want. We will still be staiting each bai on alteinating feet, though.
Beie, a simple ii - v - I haimony is oveilaiu ovei a two bai cycle. You can choose any
key - heie I am in Bb, simply playing bass notes.



Fiom heie you can biing in simple haimonic language, always making suie
you expiess cleaily the gioupings of the clave (incluuing the two uotteu ciotchets,
even though we aie not tapping them with oui feet). Beie is an example:



As you become moie comfoitable with this theie aie many vaiiations that can
be applieu. Foi example:

Insteau of aiticulating both uotteu ciotchets, play a longei phiase of 6
quaveis, as you woulu in a S4 bai.
!
" #
$ $ $
!
!
"
!
"
#
#
#
#
!
"
!
"
$
%
$
%
#
#
#
#
!
"
#
$
$
Cm7
% %
F7
&# &#
B^
% % &# &#
'
% % %
#
% % %
#
!
"
!
"
"
Cm7
#
#
#
#
F7
#
#
#
#
# # $ # %
B^
#
#
#
#
#
#
#
# & #
#
#
#
#
#
'
( ( (
#
( ( (
#
Piactice beginning phiases on eveiy beat of the bai, whilst always
tapping the foot pattein. Piactice staiting both on the last uotteu
ciotchet of the clave, anu on the actual 6
th
anu 7
th
beats of the bai,
which foim a tension against the clave. Boing this will in fact stiengthen
youi inteinalisation of the clave.
Piactice ')<5)* phiases on uiffeient beats of the bai, except foi beats 6
anu 7 (though uo piactice iesolving onto the last uotteu ciotchet).
Focus on iesolving veiy cleaily beat - heie is an example of staiting on
beat 2 anu iesolving onto the last uotteu ciotchet:



Piacticing these combinations of staiting anu enuing points means you will be
able to iesolve youi phiasing when you neeu to, allowing you to builu shape into
youi impiovising. All the time we piactice this, the clave is going fiom '=3'-)$& to
5)3'-)$&.


!
"
!
"
"
Cm7
#
$
$
F7
$
$
$ %
$
$
$
$ "
$
&
#
B^
#
$
$
$
$ $ %
$
$
$
$
$
'
#
(
) ) )
#
) ) )
#
N&'$,5&5O

The bassline is the most consistently close pait to the clave. Look at the bassline foi
the fiist choius, anu, with the iecoiuing, fiist listen anu then clap along, using the foot
pattein fiom the last exeicise. Aftei the ihythm is secuie, sing the bassline along to
the CB - ihythm is moie impoitant than pitch heie, although you will notice how ioot-
baseu the note choices aie heie. Whenevei you finu a paiticulaily uifficult passage to
follow (foi example bais SS-6u), use the bassline to keep a tiack of the clave.

@: P"Q$"R&6 N#5O-#O, #51 $", ST#UUF 25V+-,56,

Even aftei spenuing time inteinalising anu stiengthening the clave, it is
obvious listening to the iecoiuing anu tiying to follow the tiansciiption that theie is
a majoi leap to make - the leap fiom feeling the heaitbeat of the music to getting to
know its outwaiu featuies. Leaining the iiue cymbal patteins, anticipations anu
phiasing iueas useu allows us to be comfoitable in eveiy coinei of the bai, whilst
still iemaining iooteu secuiely in the clave as we leaint it in the pievious chaptei.

i. 'Stock' Patteins

The best place to stait is with the uium kit, anu paiticulaily the iiue cymbal.
S

}oige Rossy has two 'stock' patteins. Beie is the fiist, which is veiy much in
agieement with the clave:


Following this is a pattein that miluly uisagiees with the clave. The S
iu
beat is
uelayeu by one quavei to make a stiing of thiee uotteu ciotchets:


These patteins shoulu be leaint, with clapping oi using the 'Ta' syllable,
against the foot pattein fiom the enu of the last chaptei:



S
Nake suie to ieau the 'Notation' section pieceuing the tiansciiption to claiify all
uium notation in paiticulai.
Dr. !
"
#
" "
#
$
" "
$
"
#
"
$
"
#
"
$
Dr. !
" "
#
"
!
"
!
"
!
!
" #
$ $ $
!


ii. Anticipation patteins

0nce these patteins aie leaint we can look at some of the vaiiations
alteiations Rossy makes that give the peifoimance its paiticulai sense of swing anu
uiive. Bave a look at this example:

;#4' 9AWB9JG ?JFEGXH




The iiue patteins heie come fiom the seconu of the two 'stock' patteins, both
emphasising the 'anu' of beat thiee. Bowevei, looking at beat 7 of bai 179 we can
see how both the iiue cymbal anu Nehluau's left hanu emphasise the 7 'anu', tying it
ovei the bailine.
Looking thiough the tiansciiption this is an extiemely common occuiience,
paiticulaily in the iiue cymbal. Anticipating the one, just as we woulu in 44 swing,
gives the time feel piopulsion anu stops it getting too 'boggeu uown' in the
iepetitiveness of the clave. Not feeling this anticipation oi iealising it is theie is also
the main ieason foi 'losing' beat one when listening to the tiack. The effect of
179
Pno.
Bass
Dr.
!
!
"
"
"
B^
#
$
$
$ %
$
&
E7
#
$
'
$
(
$ %
A^
$
'
$
$
$
$
$
$
$
C7
& )
*"
"
"
+
+
+
%
%
,
#
$
$
$
$
$
$
'
$
$
$
"
"
"
$
$
$
$
$
$
$
"
'
+
+
+
+
$
$
$
$
#
$
$
$ "
'
$
$
$
"
"
"
$
$
$
$
$
$
'
*"
"
"
B^
$ % $
+ ,
E7
$
"
$
"
A^
+ +
C7
$
"
$
"
-
#
#
$
$ $
$
.
#
/
& $
"
/
(
/
"
$
/
$
.
' &
/
(
/ /
$
# /
"
$ $ $
&
#
"
$
$
$
$" $
'
stiinging togethei a numbei of bais without playing the one can be quite
uisoiientating, as uemonstiateu by the uiums heie:

;#4' J9BJC ?IF@IXH




The 7 'anu' is the most fiequent anu obvious anticipation useu. Bowevei, as
the two stiongest beats in the clave aie the 1 anu S, beat S is also fiequently
anticipateu to give some foiwaiu motion in the miuule of the clave, paiticulaily in
the piano left hanu:

81
Pno.
Bass
Dr.
!
!
"
"
"
Bm7
#
#
# # $
E7
#
# " # $
#
#
%
&
#
A^
#
# " # $
# # $
#
# $
#
#
# $
#
'
# "
#
# "
#
#
'
"
("
"
"
)
)
)
"
"
"
*
#
#
#
&
#
#
#
"
"
"
#
# $
"
"
+ , *
#
#
#
-
-
$
& , *
#
#
# $
#
#
#
&
("
"
"
Bm7
) -
) -
E7
#
# #
#
A^
# -
# -
)
#
) $
.
*
,
#
#
'
/
#
&
#
'
#
,
*
/
#
'
# +
/
0
/
'
1
/ / #
+
/
"
/
*
/
1
#
&
83
Pno.
Bass
Dr.
!
!
"
"
"
Gm7
#
# $
#
# $
#
%
"
#
&
C7
'
#
#
F^
# $ # "
# # "
#
# $
#
# $
#
#
C7
#
# "
#
# # "
(
#
#
%
(
)"
"
"
#
#
#
#
#
#
*
#
#
#
&
#
#
#
"
"
"
#
#
#
"
"
"
#
#
#
$
$
&
#
#
#
&
#
#
#
"
"
"
"
"
#
#
#
#
#
# $
(
)"
"
"
Gm7
# $
# $
+
C7
#
# $
#
F^
#
# $
#
# $
C7
#
#
# "
,
-
. .
#
.
%
/
.
"
& -
.
"
.
'
#
( -
.
%
/
. . .
%
#
&
.
'
#
%
"
#
(
#
( # #
%
(

;#4' W9BWKY Z&#5) [5+Q ?IFK9XH


Beat S is anticipateu in eveiy bai heie, both in the left hanu anu, in 9S, the
iight hanu. The clave pattein is still eviuent, paiticulaily in the left hanu wheie the
uotteu ciotchets at the enu of the bai aie maintaineu.
The following exeicises aie uesigneu to builu familiaiity with these two points
of anticipation - aftei this you can move them to leain to anticipate the othei beats
in the bai, but foi now we will just look at the two stiongest points.

iii. Anticipation patteins - exeicises

Being 1uu% suie of wheie these two points of anticipation aie means we can
stait anu enu phiases in moie vaiieu places. Beie is a simple thiee-stage exeicise to
stait with, using clapping oi the 'Ta' syllable, anu the same foot pattein.
1. Incluue the beats that the anticipations pieceue (the 1
st
anu the the S
th
),
but accent the anticipations.
2. Remove these beats. At this stage it is impoitant to feel the link up
between youi clappeu (oi spoken) anticipation anu the following beat
maue by youi foot.
S. Finally we take out all othei beats:
91
!
!
"
"
"
Fm7
#
Bm7
# $
#
#
%
#
#
#
#
E7
#
#
# # $
&
#
#
# "
&
#
'
# $
'
&
A^
#
# "
#
#
#
#
("
"
"
) * &
#
#
#
'
#
#
#
"
"
"
#
#
#
"
"
"
#
#
#
"
"
"
#
#
#
'
*
"
#
#
#
'
*
"
#
#
#
"
"
"
93
!
!
"
"
"
D^
#
#
#
#
#
#
G7
#
#
+
" #"
C^
#
# "
# "
#
# "
# "
#
#
,
("
"
"
#
#
#
*
#
#
#
"
"
"
#
#
#
"
'
#
#
#
"
"
"
#
#
#
"
"
"
-
-
- "
"
"
&
#
#
#
'
&
#
#
#
'
#
#
#
"
"
"
#
#
#
"
"
"



Fiom heie, much as we uiu when tiying to leain the clave, we neeu to piactice
staiting anu enuing phiases on these anticipateu beats. Theie aie also thiee stages
to this exeicise:

1. Incluuing the following beat when you stait the phiase.
2. Tie the anticipation ovei by a quavei, iemoving this beat.
S. Lengthen the phiase to incluue both anticipations, both tieu ovei.

Remembei that an anticipation is not a uelay of the pievious beat, but a 'push' of the
next beat - it shoulu take its haimony fiom the following beat (i.e. 7 'anu' will
anticipate the haimony fiom beat 1 of the next bai). Nake suie you iesolve stiongly.
Beie is an example that begins anticipating beat S, tieateu these thiee ways:


Dr. !
"
#
" "
#
$
" "
$
"
#
"
$
"
#
"
$
Dr. !
" "
%
"
!
"
!
"
!
"
#
!
!
!
!
$
%
!
!
!
!
"
#
!
1.
& "
!
"
&
'
"
!
" "
&
'
!
( ( (
!
"
#
!
!
!
!
$
%
!
!
!
!
"
#
!
2.
) "
!
"
&
'
*
!
" "
&
'
!
( ( (
!
"
#
!
!
!
!
$
%
!
!
!
!
"
#
!
3.
)
*
!
"
&
'
*
!
*
"
&
'
!
( ( (
!
3

0se youi imagination to extenu the exeicise to incluue 'on' beats, as in the
pievious chaptei - foi instance, piactice staiting on beat 2, tying ovei S beat anu
enuing on 7 'anu', all the time keeping the foot pattein going.

!
"
!
"
"
1.
Cm7
# $
#
F7
%
&
'
B^
% ( % )
% )
% "
% "
% )
# $
#
%
&
*
% (
%
%
%
% )
%
+
, , ,
#
, , ,
#
!
"
!
"
"
2.
Cm7
# $
#
F7
%
&
'
% % (
B^
% )
% "
%
% )
# $
#
%
&
*
%
% (
%
%
% )
%
+
, , ,
#
, , ,
#
!
"
!
"
"
3.
Cm7
# $
#
F7
%
&
'
% % (
B^
% )
% "
%
% ) % % " % )
%
%
%
% ) %
&
" $ #
+
, , ,
#
, , ,
#
4
N&'$,5&5O

The uium pait is wheie much of the anticipation occuis. Take the thiiu choius,
bais SS-72. With the clave foot pattein, listen to how uiums iepeateuly
anticipate the 1, paiticulaily neai the beginning of the choius. The piano is also
uoing this, phiasing ovei the bailine as in the S
iu
pait of the last exeicise. As you
listen thiough the choius whilst tapping, tiy to clap all the anticipations - you
can piactice this moie slowly fiist without the CB. Leaining to iecognise the
anticipations on the iiue cymbal will make the tiack as a whole much easiei to
follow.

iii . Noie Auvanceu Phiasing

Finally we will look at two moie auvanceu aspects of phiasing that builu on
the pieceuing chapteis: extenueu use of syncopation anu unusual note gioupings.
These uevices aie not useu all the time, but uo cieate a stiong tempoiaiy sense of
tension, paiticulaily when useu acioss bailines, that is veiy useful in builuing anu
shaping a solo. We can stait wheie we left off, by looking at anticipation; heie,
howevei, the iepeateu use of the 'off' quaveis makes this feel moie like extenueu
syncopation:

;#4' ACBAI ?IF9EXH


73
Pno.
Bass
Dr.
!
!
"
"
"
Fm7 Bm7
# $
# "
#
#
#
#
#
#
%
&
'
E7
# $
(
#
%
#
%
#
%
#
%
A^
#
%
)
(
#
%
#
%
#
%
(
*"
"
"
&
&
&
+ '
#
#
#
%
(
&
&
&
+
#
#
#
%
" #
#
#
%
#
#
#
%
#
#
#
%
#
#
#
%
)
(
#
#
#
%
#
#
#
%
#
#
#
%
(
*"
"
"
Fm7
&
#
Bm7
# #
#
#
E7
#
#
&
A^
#" #"
,
+
- -
"
#
# +
-
"
.
(ride)
-
"
' #
-
"
#
)
( '
'
-
#
( +
-
/
#
#
+ #
"
+
"
#
-
"
#
(
75
Pno.
Bass
Dr.
!
!
"
"
"
D^
#
%
(
#
%
#
%
#
%
#
%
G7
#
%
$ #
%
C^
#
%
(
#
%
(
#
%
#
%
" #
%
(
&
.
*"
"
"
#
#
#
%
(
#
#
#
%
"
#
#
#
%
" #
#
#
%
#
#
#
%
#
#
#
%
#
#
#
%
#
#
#
%
(
#
#
#
%
(
#
#
#
%
"
#
#
#
%
"
"
" #
#
#
%
(
&
&
&
'
#
#
#
"
"
"
*"
"
"
D^
& &
G7
# "
"
# $
"
C^
&
# #
#"
# #
(
,
+
- -
#
.
-
%
/
-
'
-
/
-
#
(
-
/
-
#
(
#
#
"
"
.
-
/
- -
' #
"
-
/
-
"
-
-
#"
#
"
-
/
-
"

Note heie how the bass anu uiums keep the clave stiong whilst the piano is
playing acioss the beat in bais 7S-76. Piacticing playing on all the 'off' quaveis is
extiemely woithwhile, as it uoes not come quite as natuially as when in 44. We
lookeu at piacticing the anticipations of beats 1 anu S, then tying phiases ovei those
beats; this exeicise is the next step, staiting fiom those beats continuing thiough all
the 'off beats'. Begin heie by playing a simple line aiticulating ioot movement - heie
I have taken the fiist foui choius fiom 'All the Things You Aie' in the oiiginal key of
Ab:



Fiom heie, piacticing iesolving onto the beat; stait with beats 1 anu S, then
move onto the othei beats. Beie is an example of the same line iesolving onto beat S
each bai:



!
"
!
"
"
"
"
Fm7
#
$
#
$
#
# # %
#
&
Bm7
#
&
#
#
E7
#
$
#
$
#
# " # %
#
$
A^
#
$
#
#
'
( )
* * *
#
* * *
#
!
"
!
"
"
"
"
Fm7
#
$
#
$
#
# # %
#
&
Bm7
#
'
&
#
#
E7
#
$
#
$
#
# " # %
#
&
A^
#
'
$
#
#
(
) *
+ + +
#
+ + +
#
N&'$,5&5O
This type of anticipation is nevei useu foi veiy long in the piano - often it just
foims pait of a phiase. Listen to the solo as a whole anu look out foi bais 14, S2,
49, 74 anu 18S in paiticulai, anu how (anu if) they iesolve.
Finally we neeu to look at some phiasing iueas that iequiie a little maths:


;#4' 9EWB9I@Y Z&#5) [5+Q ?JF@9XH



Fiom beat 6 of bai 1S9 thiough to beat 1 of bai 162, the quaveis in the piano
iight hanu aie gioupeu S + 4 + S + 4 + S + S + 4 . See how cleaily the left hanu
ieinfoices this. Calculating this kinu of manoeuvie 'on the fly' is uifficult; these
unusual gioupings aie leaint by woiking out anu piacticing patteins in auvance. If
you know youi point of uepaituie anu aiiival you can use them wheievei you want.
This simplest pait of this pattein is bai 161, which goes fiom beat 1 to beat 1,
gioupeu S + S + 4. When piacticing these patteins, stait with the 'Ta-Ka-Bi-Ni'
syllables. Beie is the giouping in 161 using these syllables anu the foot pattein we
have leaint:


159
!
!
"
"
"
D^
#
#
#
#
#
#
Dm7
#
#
#
$
#
#
#
#
A^/C
#
#
%
#
#
# &
#
%
'
F7/A
# &
#
# '
#
#
%
"
# &
# "
# &
("
"
"
)
)
)
#
#
#
*
#
#
# &
&
"
"
"
#
#
#
"
"
"
+
#
#
#
"
"
"
+
#
#
# &
'
,
)
)
)
+
#
#
# "
"
"
"
161
!
!
"
"
"
B^
#
$
% # & # %
# %
# %
#
$
E7
#
# &
# &
#
A^
#
$
&
#
#
# &
#
#
#
#
#
#
C7
#
#
#
#
#
#
# &
'"
"
"
(
(
(
)
#
#
#
&
%
%
*
#
#
#
+
(
(
( &
(
(
(
)
#
#
#
"
"
"
#
#
# "
"
"
"
#
#
#
"
"
"
!
"
#
#
#
#
!
"
!
"
$
%
#
#
#
#
!
"
!
"
!
"
#
ta ka - ta - ka - ti - ta
$
%
$ $ $ $
ka - ta - ka - ti - ta
$
%
$ $ $ $
ka - di - mi -
$
%
$ $ $
#
& & &
#
Leaining to enunciate the syllables cleaily may take some piactice; stait
slowly anu focus on getting the main accentuation at the beginning of each gioup.
0nce you feel happy with a paiticulai giouping, intiouuce notes ovei a two bai
pattein, just as in the fiist chaptei. Also piactice ieplacing one of the gioupings with
a iest (this can also help with bieathing foi winu playeis):


When piacticing ouu gioupings, foi claiity always tiy to make obvious
haimonic movement at the beginning of each gioup. In the example above, this
means that the changes in haimony in the line uo not coiiesponu exactly with the
wheie they woulu be in the clave (anu hence wheie a bass playei woulu piobably
put them), but this uoes not mattei in piactice, anu even heightens the effect of the
giouping.
The numbei of combinations of unusual gioupings useu in this peifoimance
alone is huge. It is not possible to list them all, but they involve not only gioups of
foui anu five notes, but also thiees:

;#4' ECBEK ?EFEKXH

!
"
!
"
!
"
#
$
$
Cm7
%
&
%
%
% % '
F7
%
&
%
% (
%
% $
%
)
B^
%
&
%
%
%
%
%
&
% (
%
%
% $
%
)
*
+ + +
#
+ + +
#
53
Pno.
Bass
Dr.
!
!
"
"
"
B^
# $ % &
'
E7
% &
% &
%
%
A^
%
%
%
%
%
%
%
%
%
%
#
C7
( $ %
)
'
*"
"
"
(
%
%
%
+
&
# # ( ,
%
%
% "
"
"
"
%
%
%
"
"
"
*"
"
"
B^
- +
% &
%
E7
%
"
%
"
A^
-
%
%
C7
%
%
%
.
$
/ / /
% % %
#
#
$
$
%
0
$
/
(
/
$
%
' (
/
1
/ /
%
%
/
1
/
%
(
/
1
/
%
/
1
/
"
(
Ciotchets aie also useu in unusual gioupings:

;#4' WEBWJ ?IFKAX

Fiom beat S of bai 9S we have S+7+S(+2), iesolving at the beginning of bai 98.
You can uesign youi own gioupings ovei a two bai cycle; stait on any beat but aim
to finish on beat 1 oi S. Beie is one final example:

;#4' 9CAB9CJY Z&#5) [5+Q ?AFEGXH



Beie the pattein useu is S+4+4+4+4+4, staiting halfway thiough beat S in bai 1S7
anu iesolving onto beat 1 of bai 1S9.


95
!
!
"
"
"
Cm7
#
# $
#
#
#
%
Fm7
#
#
#
#
#
B7
# # #
&
#
E^
#
#
# # #
'"
"
"
( )
#
#
#
#
"
) (
#
#
#
#
#
#
#
#
#
#
#
#
*
*
*
*
#
#
#
#
$
+
+
$
#
#
#
#
#
#
#
#
97
!
!
"
"
"
A^
# # #
&
#
E7
#
#
# # #
A^
# + # $
# +
# $
# +
%
#
# +
#
#
#
#
'"
"
"
#
#
#
#
$
+
+
$
#
#
#
#
*
*
*
*
#
#
#
#
#
#
#
#
#
#
#
#
*
*
*
*
$
+
+
$
)
#
#
#
#
,
)
#
#
#
#
,
%
"
#
#
#
#
"
"
"
"
137
!
!
"
"
"
Gm7
# $
C7
% &
% &
% &
%
'
%
%
%
F^
%
'
%
%
% &
%
'
%
%
%
C7
%
'
"
% &
% "
%
%
' % &
% "
%
("
"
"
% ) "
% &
"
*
% &
"
% ) "
+
+
+
&
&
+
+
+
* #
0sing the syllables the pattein woulu look like this:



Now imposing this pattein ovei ii-v-I-vI loop:



Foi iefeience when uesigning youi own exeicise, heie aie the uiffeient
syllable patteins to use foi each giouping length:

2: Ta-Ka
S: Ta-Ka-Ti
4: Ta-Ka-Bi-Ni
S: Ta-Ka-Ta-Ka-Ti (gioupeu 2+S)


!
"
#
#
#
#
$
%
#
#
#
#
!
"
!
"
#
ta ka - ti - ta
$ $ $
ka - di - mi - ta
$
%
$ $ $
ka - di - mi - ta
$
%
$ $ $
ka - di - mi - ta
$
%
$ $ $
ka - di - mi - ta
$
%
$ $ $
ka - di - mi -
$
%
$ $ $
!
& & &
#
& & &
#
!
"
!
"
#
#
#
#
$
%
$
%
#
#
#
#
!
"
!
"
"
"
"
Cm7
# $
F7
%
%
% &
%
'
%
% &
%
B^
%
'
% "
%
%
%
'
&
%
% &
%
G7
%
'
%
%
%
%
'
%
%
% &
(
) ) )
#
) ) )
#
N&'$,5&5O

Nehluau often uses ouu gioupings to uevelop oi 'twist' an iuea; listen to bais S1-
6u foi a goou example of this. 0thei goou places to listen out foi aie bais 82-84,
1SS-1S4, 196-198 anu 2uu-2u2. Each one coulu be useu to cieate anu exeicise.

C: SN#Q,4' )V 3&R,F

i. Analysis

We have seen alieauy that the clave is maue up of shoit anu long beats
(ciotchets anu uotteu ciotchets). Bowevei theie aie vaiious othei 'pulses' implieu
in the clave; the ciotchets aie gioupeu into 2+2, biinging a minim pulse into the
equation. Fuitheimoie, those minims aie gioupeu into semibieves. Lastly, at the
enu of the bai, the two uotteu ciotchets aie gioupeu togethei, giving us a uotteu
minim pulse. When we take a 'seconuaiy' pulse such as one of these anu extenu it,
new 'layei of time' is foimeu, albeit tempoiaiily, that will foim a tension against the
oiiginal clave anu give oui playing moie ihythmic vaiiation anu uepth.
This was beginning to happen in the examples useu in the last chaptei - foi
instance bais SS-S4 almost feels like a biief intiouuction of 68 time in the piano (oi
in othei woius taking anu extenuing the uotteu ciotchet iuea). Beie aie some
examples of new layeis being built, staiting with the minim:

;#4' @GB@9 ?KFECXH


The piano is playing a 'long' 7 (effectively a bai of 72) ovei two bais of 74. I
have hau to wiite it out as being 84 +64 as otheiwise the ciotchet tiiplet woulu be
20
Pno.
Bass
Dr.
!
!
"
"
"
#
$
E7
%
%
%
3
&
%
%
3
A^
'
&
%
3
D^
%
(
$
%
& )
G7
%
% % *
%
%
+"
"
"
#
$
,
%
%
%
& &
%
%
%
& &
(
$
&
"
%
%
-
.
+"
"
"
/ 0
/
$
'
E7
' '
A^
% '
D^
' % "
"
G7
%"
0 / 0
/
$
,
1 1 1
2
1
% %
& &
1
2
1
%
1
2
1
)
%
- &
1
2
1 1
3
%
&
1
2
1
"
& %
1
"
,
1
"
ciossing the bailine, lenuing moie confusion. It is not 1uu% accuiate on the
iecoiuing (the thiiu set of ciotchet tiiplets staits a little late), but the intention is
cleai, anu the use of ciotchet tiiplets emphasises the minim pulse veiy cleaily.
The uotteu minim anu semibieve pulses aie not useu so extensively in this
peifoimance. What they aie useu foi is to tempoiaiily 'flip' the clave, enuing up with
a bai of S+4 ciotchets. You then enu up with two consecutive uotteu minims pulses;

;#4' 999B99@Y Z&#5) [5+Q ?AF9GXH


We can see how cleaily bai 112 is gioupeu as S+2+2 ciotchets - the clave in
ieveise.
The most impoitant layei, howevei, is built fiom the uotteu ciotchet pulse (the
'long beat') that we lookeu at in the fiist chaptei. As it is so cential to the clave it is
an obvious choice to uevelop anu extenu, anu it is in the uiums moie than any othei
pait that this happens. Rossy has a numbei of uevices he uses, this being one of the
most pievalent:

;#4' @GB@CY \4-R' [5+Q ?KFE9XH


This is the same passage that contains the 'slow' 7 (see pievious page). The last
quavei of bai 21 is tieu ovei, but if you imagine it being the fiist beat of a 128 bai,
the ihythm is tiansfoimeu:
111
!
!
"
"
"
D^
#
#
$
#
%
#
#
#
G7 C^
# &
# '
# &
#
# '
#
# &
# '
# &
# &
# '
# '
#
%
#
#
#
#
%
#
#
#
("
"
"
)
)
)
#
#
#
"
"
"
#
#
#
&
'
'
*
+
"
#
#
#
"
"
"
)
)
)
#
#
#
&
'
'
,
20
! / 0
"
# # #
$
#
% %
& &
#
$
#
%
#
$
#
'
%
( &
#
$
# #
)
%
&
#
$
#
!
& %
#
!
"
#
!
&
!
#
!
%
!
#
!
& "
# # # #
#
&
#



Naking a 'new' ciotchet out of the uotteu ciotchet is something that has a long
histoiy in jazz. Tony Williams in Niles Bavis's Quintet is piobably the most famous
example.
4
Each quavei in the uotteu ciotchet becomes like one-thiiu of a tiiplet in a
tiiplet-y swing feel - the lone quavei in the above example is the 'skip'. The uifficulty
is that in 74, compaieu to 44 the iesolution pattein is much moie complex, so this
layei is only ieally useu foi one bai at a time. Neveitheless the fiequency of its use
makes it an intiiguing unueicuiient thioughout the tiack - heie is anothei example:

;#4' 9CIB9CA ?AFKAXH

Again heie the uotteu ciotchet pattein begins fiom the last quavei of bai 1S6, anu is
extiemely cleai thiough bai 1S7.

4
Listen to his playing behinu Beibie Bancock's solo on >$&?5)@ (the take ieleaseu on
A5*"&5*"30 B-.C 1"' D&+**'< E5/?'&). At aiounu 9'S4'' he biings in the uotteu
ciotchet pattein that Rossy is playing heie.

!"
# $
%
!
% %
&
%
!
%
!
136
Pno.
Bass
Dr.
!
!
"
"
"
A^
#
#
$
%
&
# '
# %
&
# '
# %
# '
# %
# '
#
#
%
%
(
Gm7
) *
C7
# %
# %
# %
#
$
#
#
#
#
$
#
+"
"
"
#"
# % "
( (
"
# %
"
# ' "
# %
"
(
# %
"
# ' "
+"
"
"
A^
# ' # # # #" #"
Gm7
, % ,
C7
# % " #"
-
(
. .
.
)
.
/
.
(
.
/
.
*
.
/
.
#
#
0
&
*
.
/
(
.
& (
.
*
*
#
0
&
(
.
/
(
(
"
.
"
#
0
"
.
"
Inteiestingly at this point, the piano left hanu has been aiticulating the melouy
in uotteu ciotchets ovei the pievious bai; Rossy has pickeu this up anu takes it
fuithei. These ihythmic layeis aie often useu like this, thiown back anu foith
between piano anu uiums like a ball.
0ne final 'layei' woith mentioning has to uo with the quavei feel. Nehluau
plays with almost univeisally stiaight quaveis. Rossy, howevei, has a bioauei, moie
fluiu appioach that cannot be expiesseu well in notation. Whilst his quaveis aie
wiitten as stiaight, theie aie occasions when he uelibeiately pushes them towaius a
swing feel. 0n these occasions I have expiesseu this with tiiplets, although in
piactice the quaveis aie a little moie even:

;#4' AABAJ ?IF@GXH

Beie the tieu quavei at the enu of 77 is not of so much impoitance - insteau
the beginning of bai 78 is a faiily stanuaiu swing pattein, with the hi-hat on 2 anu 4
(anu 6). This is anothei useful layei to consiuei, paiticulaily if you aie a uiummei.

77
Pno.
Bass
Dr.
!
!
"
"
"
Cm7
#
$
"
#
$
#
# "
Fm7
#
#
%
"
&
#
%
'
& & &
B7
#
'
# "
#
# "
#
#
#
E^
#
#
#
#
# (
#
#
# (
)"
"
"
&
#
#
# "
"
"
'
&
#
#
#
'
* +
"
#
#
#
#
#
#
'
,
,
,
#
#
#
"
"
"
#
#
#
'
+ &
#
#
#
'
+
)"
"
"
Cm7
#
#
#
#
Fm7
#
"
#
"
B7
#
#
#
#
E^
#"
#
"
-
+
. .
#
*
.
/
.
%
"
.
"
#
#
+
.
&
#
' 0
.
/
. .
.
.
/
. .
.
&
.
/
.
#
' *
.
.
.
/
.
3 3 3
N&'$,5&5O

Listen thiough paying special attention to both the uotteu ciotchet pulse anu
how Rossy's quavei feel changes subtlely - changes aie usually piompteu by
something in Nehluau's solo, oi uivisions in the foim.
ii. Exeicises

These aie the most uifficult of the exeicises in the book, anu iely on being
comfoitable both with concept of the 'long beat' as uiscusseu anu piacticeu in
chaptei 1, anu the phiasing exeicises fiom chaptei 2.

a) The Long 7

The fiist exeicise looks at supeiimposing a 72 time signatuie ovei the 74.
The musical example foi the 'long' 7 useu ciotchet tiiplets, but we aie going to stait
with minims. I have taken the fiist 4 choius fiom 'All The Things You Aie' in the
oiignal key, anu simply playeu ioot movements in 72 ovei the top:


Continue this thiough the sequence, maintaining the foot pattein. When theie
aie two choius in the seconu pait of the seven, as theie aie heie, change on the last
minim. Fiom heie you can go on to uiviue the minims as you like; the auvantage of
the 'long' seven is that, with the minim pulse, 44 language is easiei to fit it. Beie is
an example simply using quaveis, incluuing some bieaths:

!
"
!
"
#
#
#
#
!
"
!
"
"
"
"
Fm7
# #
Bm7
# $
E7
$
# #
A^
#
"
"
%
# # #
#
# # #
#
!
"
!
"
#
#
#
#
!
"
!
"
"
"
"
Fm7
#
Bm7
$
$
$
$
$
$ % $ "
$
E7
$
$
$
$
$ $ % $ "
$
A^
$
$
$
$
$
&
'
( ( (
#
( ( (
#
)
*
)
*
!
"
!
"
"
"
"
D^
$
$ %
$
$
G7
$
$
$
$ #
C^
$ +
$ +
$ %
$ %
$
$ %
$
$ %
$
& #
'
( ( (
#
( ( (
#
Be caieful not to emphasise the quaveis on the bailines (between the 1
st
anu
2
nu
bai foi example), but the ones at the beginning of each gioup. Bowevei you wish
to uiviue the minim (quaveis, uotteu ihythms, ciotchet tiiplets), stait by aiticulating
bass notes befoie moving on to melouic language.

b) Flipping the Clave

The same piinciple applies heie - fiist aiticulate the bass line:

Then apply melouic language, challenging youiself by intiouucing ciotchets
anu iests into the line, always phiasing cleaily with the pattein:

!
"
!
"
"
"
"
Fm7
# #
Bm7
$
#
$
#
E7
$
#
$
#
#
A^
#
%
# # #
#
# # #
#
!
"
!
"
"
"
"
D^
# #
G7
$
#
$
#
C^
$
#
$
#
# #
%
# # #
#
# # #
#
!
"
!
"
"
"
"
Fm7
#
#
#
#
$
Bm7
%
#
E7
#
#
#
#
#
&
#
#
'
$
A^
#
#
#
#
(
) ) )
#
) ) )
#
!
"
!
"
"
"
"
D^
#
#
#
#
#
G7
#
#
# *
#
# *
+ %
C^
# *
#
#
# *
# *
&
+
#
#
# *
#
# *
#
#
(
) ) )
#
) ) )
#
c) Swinging off the uotteu ciotchet pulse

This ielies on being able to geneiate an accuiate uotteu ciotchet pulse; see the
exeicises in the fiist chaptei. Beie we will be leaining to intiouuce the pulse as
Rossy uoes, staiting fiom the last quavei of the bai. This woiks as we then enu up
with 1S quaveis, which when uiviueu by S makes S beats. Stait with using spoken
syllables:


To feel the 'swing', ghost the 'Ka' syllable. With piactice, as with the othei
'layeis' exeicises you will finu a point wheie it 'clicks', anu you can tiuly feel the
gioove of the new layei. At this point, move on to playing a melouic line in the new
feel; if you have two choius pei bai, gioup youi uotteu ciotchets S+2:


You can caiiy on this pattein thioughout the choius; vaiy the line by playing
gioups of thiee quaveis, just a uotteu ciotchet oi even a uotteu minim.






!
"
#
#
#
#
!
"
!
"
$
%
#
#
#
#
!
"
# $
%
&
ta ka - ti - ta
'
(
' '
ka - ti - ta
'
(
' '
ka - ti - ta
'
(
' '
ka - ti - ta
'
(
' '
ka - ti -
'
(
' '
#
) ) )
#
) ) )
#
!
"
!
"
"
"
"
Fm7
#
Bm7
$ %
E7
&
'
&
&
&
&
'
&
A^
& (
)
& "
&
)
&
&
)
*
+ + +
#
+ + +
#
!",4, 3) ]) ^4)R /,4,

These exceipts anu exeicises aie ieally a staiting point foi going anu uoing
youi own investigation of the tiansciiption; theie is only space to examine the
piinciples anu piimaiy impulses of what is going on. Playing is a much moie
impulsive, nuanceu anu cieative piocess than anything we have lookeu at ovei the
couise of this booklet - anu the iecoiuing anu tiansciiption incluueu aie fai fiom
the enu of what can be uone with these mateiials.
Neveitheless, the application of the clave anu speech patteins as leaining tools
follows the methous musicians in West Afiica anu Southein Inuia have leaint by foi
centuiies, anu as such is finely tuneu to iecognise how oui biains ieally woik. With
this leaining methou in place anu the expiessive, peisonal language of jazz at oui
uisposal, we can confiuently stiiue both paths anu make the music oui own.