Minor ear victory

[pamosmusic]

I miss quarter triplets (aka "African six") which may start on the beat or on the second triplet eighth of a beat in their shifted form.

Good point.

Usually around the time I do the quarters with anticipation of beat one, I do other non-eighth note rhythms. Definitely triplet quarters but not the displacement. Thats a cool one.

[Christian Miller]

I miss quarter triplets (aka "African six") which may start on the beat or on the second triplet eighth of a beat in their shifted form.

A combination of which form the Bembe bell pattern which is quite a lot of jazz phrasing at lower tempo swing … think Wes on Willow Weep.


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[Christian Miller]

With metronome as well it’s also having where you are not, as well, so you get used to how to feel the spaces between the notes.


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[Boss Man Zwiebelsohn]

Good point.

Usually around the time I do the quarters with anticipation of beat one, I do other non-eighth note rhythms. Definitely triplet quarters but not the displacement. Thats a cool one.

One day I realized that I do those displaced quarter triplets all the time. Probably comes from listening to a lot of blues.

Monk does one starting on the "4&" of bar 3 of Blue Monk.

[pamosmusic]

With metronome as well it’s also having where you are not, as well, so you get used to how to feel the spaces between the notes.


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Yeah I remember the first time I saw how real musicians use a metronome and I was like

I think it was Lage Lund and he was doing 1 click every four beats and then displaced it by every quarter note, and then by every eighth note, then by every sixteenth.

Miles Okazaki does a lot of super long clicks … like on beat two of every fourth measure or something like that. Romain Pilon posts a bunch of stuff like that too.

It’s a great tool once a person starts realizing how creative they can get with it.

[Bobby Timmons]

Could you please show examples of Monk playing imprecise? His playing is angular regarding the rhythmic aspect as well, but imprecise? Are you shure you are really understanding the polyrhythmic stuff he is playing all the time?

I’m going to go out on a limb and say this is a looming case of Definition Confusion. Maybe a better question is “what do you mean by precision and what do you mean by consistency.”

[CliffR]

I suppose I haven’t commented on the video specifically so I should mention that I think it sounds quite good. The head in particular sounds really nice and has all that articulation stuff that you’d want to hear. Maybe less so in the improvised portion? But that would be totally normal. You play a half-dozen bebop tunes as well as you play Billie’s Bounce and then that stuff starts to sink in more. It still sounds good though, and some legit Parker licks you snuck in there.

One thing I would say that I think is awesome is that it seems like you actually have a super *light* touch.

That seems a little contradictory, but one of the hardest pure mechanical things to do on guitar is play loud (or rather play with dynamic contrast) with a light, healthy touch in the right hand. Usually first that means bringing the overall volume down so that the accents stand out that way, and then slowly bringing the contrast up by making the accents louder without losing the light touch that feels more natural at a lower volume.

So I don’t know man … it sounds like you’ve got a lot of a good stuff going on and that you’re in the middle of a journey on a few things and that a lot of people would be very happy with that recording. And judging by the stuff you’re talking about the next recording will probably be better on a lot of those musical measures.

And that’s the whole ball game right there.

Thanks Peter - I really appreciate you listening and taking the time to say all this.