Skip to 0 minutes and 9 secondsSo what we’ve been looking at is different rhythmic phrases which you can apply to your soloing - phrases different than jazz-quavers, for example. The idea is, then, that your solos will make use of these different phrases. You can do some exercises with this. Take, for example, Rhythmic Phrases I and Standard Phrases What you could do is take a blues or a standard and play so many bars with the same pattern, for example 4 bars. You can have 4 bars of pattern one, which is a semibreve. 4 bars of pattern two, which is a minim. Then crotchets and straight quavers.
Skip to 0 minutes and 58 secondsThen semi-quavers, then triplets, then jazz quavers, then triplets - 3s against 2s - pattern nine triplets 3s agains 2s - the first 2 tied - the first 2 notes tied and pattern 10, triplets 3s against 4, until you get used to the idea of being able to use these other sorts of patterns. You can do the same for Dotted Rhythms, Tied Rhythms and Tied Triplets. Let me give you an example. Since the first 2 patterns are trivial. Let’s start on pattern 3 and we’ll do 2 bars of crotchets, 2 bars of quavers, 2 of semi-quavers, 2 of triplets, 2 of jazz quavers and 2 of 3s against 2.
Skip to 1 minute and 48 secondsThat gives us a total of 12 bars and so we’ll play a blues - play a blues in F - standard modern jazz sequence. Don’t worry too much about the left hand. I’m really interested in the right hand in using these rhythmic patters. I’m just going to do 2 bars to save time.
Application to a blues
We look at an exercise of playing different rhythmic phrases over a blues sequence.
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