'Trane Changing Tracks - Rhythmic Variety
In belated remembrance of the late John Coltrane's 90th birthday, here's a cute little four bar "digital pattern" exercise based on the Cycle of Descending Major 3rds (a.k.a. Coltrane Changes) through the keys.
As mentioned previously in these pages, 'Trane used these four note digital groupings, played in eighth notes, to better negotiate the rapid tempi of several of his classic originals (Giant Steps, Countdown, Satellite, etc), which were based on the descending Maj. 3rd Cycle.
'Trane had an arsenal of these groupings, many of them variations of simple 1235 on Maj. chords (C-D-E-G on C Maj) and b7123 on dominant chords (Db-Eb-F-G on Eb7), as classic examples.
As mentioned previously in these pages, 'Trane used these four note digital groupings, played in eighth notes, to better negotiate the rapid tempi of several of his classic originals (Giant Steps, Countdown, Satellite, etc), which were based on the descending Maj. 3rd Cycle.
'Trane had an arsenal of these groupings, many of them variations of simple 1235 on Maj. chords (C-D-E-G on C Maj) and b7123 on dominant chords (Db-Eb-F-G on Eb7), as classic examples.
The exercise contained in the downloadable pdf is based on 3513, b795b7.(F-Ab-Db-F on Db Maj & D-F#-B-D on E7), which in eighth notes, can be viewed as inversions of a Major triad (Db) and a minor triad (B min) one whole step lower. As these triads transpose down a Maj 3rd in each instance for the next two measures (A Maj | G min and F Maj | Eb min, respectively), this equates to a descending whole tone bass line in as in "Satellite", (in G concert) where the 5fth of the dominant chords (the minor triads here) are in the bass.
While playing the line in this exercise- or any line, for that matter - in constant eighth notes can be great for practicing, it can quickly get tiring and monotonous if done in a real world performance situation.
Rhythmic variety and balance is the ingredient that gives all the other ingredients their dimension.
Below are examples of how one could simply add rhythmic variety to line #1 of this exercise, without changing the melodic content.
While playing the line in this exercise- or any line, for that matter - in constant eighth notes can be great for practicing, it can quickly get tiring and monotonous if done in a real world performance situation.
Rhythmic variety and balance is the ingredient that gives all the other ingredients their dimension.
Below are examples of how one could simply add rhythmic variety to line #1 of this exercise, without changing the melodic content.
The first two bars of the original exercise, shown below in Ex. #1, are all in eighth notes.
Rhythmic motion, tension and release can be obtained by employing rests, by omitting selected notes, and by moving remaining notes so that they fall and accent different parts of the beat, as in Ex. #2.
Ex. #1
Rhythmic motion, tension and release can be obtained by employing rests, by omitting selected notes, and by moving remaining notes so that they fall and accent different parts of the beat, as in Ex. #2.
Ex. #1
Since there are two F's in the first group of eighth notes in the original, and two D's in the second group, we can replace one apiece with eighth note rests, shifting several of the other notes rhythmically by an eighth note (below).
Ex. #2.
Ex. #2.
Ex. #3 (below) is a variation of ex. #2. with strategically placed rests.
Another method of rhythmic displacement, (Ex. #4), is anticipation. The pickup note to bar #1, sets the tone as it shifts the first group of eighth notes earlier, so that the last eighth of each 4 note group in both measures (the "ands" of 2 & 4), "anticipates" the chord change on the next downbeat.
Ex. #4
Ex. #4
Another important and classic rhythmic device used in breaking up eighth note monotony is the judicious use of triplets. That just might be the subject of another post.
These are just a few quick examples, as there are an almost unlimited number of possibilities in general. As an improviser, being able to take a phrase of straight eighth or sixteenth notes and create rhythmic diversity with rests, for example, is an essential skill to develop.
It can make your exercises sound like music and your music sound even more musical.
These are just a few quick examples, as there are an almost unlimited number of possibilities in general. As an improviser, being able to take a phrase of straight eighth or sixteenth notes and create rhythmic diversity with rests, for example, is an essential skill to develop.
It can make your exercises sound like music and your music sound even more musical.
B. Stern
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