Jazz Phrasing (All Instruments) – Complete [5-part series] | Steve Herberman

Part 1 of this single note-based class explores the superimposition of 3/4 rhythms over 4/4 swing commonly called hemiola rhythms. This rhythm is a hallmark of jazz syncopation and can really make your solos and comping swing through it’s “over the bar line” phrasing.

The class begins with one of the most swinging rhythms in jazz from Duke Ellington’s “It Don’t Mean A Thing.” Three different common tone or pedal points are used to phrase over the chord changes to “Sunny Side Of The Street” using Duke’s iconic rhythm.

The next rhythm that is explored is the dotted quarter note, used in the form of guide tone lines and scale patterns. We then move on to harmonized diatonic triads in a modal context employing hemiola rhythms.

Next we apply the same 8^th note rhythm of three note groupings to the changes of “Sunny Side” using triads, scalar patterns and enclosures. The practice is then extended to six note patterns.

Finally we explore the classic “Honeysuckle Rose” pattern bending it into a 3/4 rhythm to be used over chord changes in 4/4.

Working on one’s phrasing will bring your playing up to new heights and establish greater rhythmic conviction in your playing.

You’ll be sure to benefit from working this elastic phrasing into your music as it is essentially what will give the lines forward motion and swing.

Expected Outcome from this class: Break down some rhythmic roadblocks and feel rhythm in a freer way. This will give you the ability to phrase over the barline and swing harder!

• 4 pages of PDF written material notated in standard notation (and TAB for guitarists)
• Running time: 31 minutes

Sub-Topics:

• Hemiola Rhythms (3/4 against 4/4)
• Freeing up one’s rhythmic feel

Part 2 of this single note-based class explores the various triplet-based rhythms that provide satisfying cross rhythms over 4/4 time. This class is packed with useful information and in-depth demonstration and explanations of the written PDF’s. The class begins with foundational rhythmic exercises using the diatonic chords in D dorian as well as the dorian scale. Emphasis is given on how to count and feel the various triplet rhythms shown.

The second section of the class uses these rhythms over two tunes:

• “There Will Never Be Another You” and
• a Bb Blues progression.

These triplet rhythms can be major road blocks that often get in the way of developing a great swing feel. Mastering these rhythms will allow the player to phrase over bar lines effortlessly. Being more aware of accents and note groupings will give one’s soloing and comping added conviction, forward motion and swing.

• 8 pages of PDF written material notated in standard notation (and TAB for guitarists)
• Running time: 45 minutes

Sub-topics Included

• Grouping triplets in hemiola rhythms and other cross rhythms against 4/4 time
• The practice of correctly counting half note and quarter note triplets
• The ability to successfully play the 8th note triplet in groupings of 2, 4 and 5 notes.

Outcome from this course:

Flexibility in phrasing with all kinds of triplet rhythms with the ability to group them in various ways for maximum rhythmic tension.

Sixteenth note lines are an important part of jazz phrasing that sometimes gets overlooked. They are an essential part of double-timing, an exciting rhythmic device to employ while soloing, especially when grouped in interesting ways.

This masterclass examines the various note groupings of sixteenth notes concentrating on those that are asymmetrical since they tend to be the most rhythmically satisfying. We’ll look at groups of 3, 5, 6, and 7 as well as grouping the sixteenth notes as triads, 7^th chords, 9^th chords and 11^th chords.

These foundational exercises are given at the beginning of the class using D dorian tonality to see and hear the examples more easily. The minor 6 pentatonic scale is used in several examples to give the examples a hard bop Coltrane-type of feel and sound.

The class closes with a 32 bar solo written over the chords to “There Is No Greater Love” that is challenging while addressing this syncopated sixteenth note technique through chord changes. Charlie Parker put this approach on the map in his rhythmically exciting improvisations. Using Bird’s approach as a foundation this class delves into some of the more recent developments of odd time cross rhythms over 4/4 time.

Rhythmic variety is what the jazz player is most often seeking in their solos. Getting a firm understanding and control of sixteenth note rhythms will definitely take one’s playing to a higher level.

• Running time: 30 minutes
• 8 pages of PDF material including standard notation and TAB

Sub-topics Included

• 16th note phrasing and articulation of 3, 5, 6, 7 note groups
• The minor sixth pentatonic scale and diatonic triads and 7th chords
• Asymmetrical phrasing and articulation of 16th rhythms over “There Is No Greater Love” written solo

Outcome from this course:

Achieving flexibility and competence with feeling asymmetrical groupings of 16th note rhythms. The guitarist should be more comfortable double-timing on their solos.

This single note-based class is about “putting it all together” to make your lines swing.

Through a close look at articulation and pairing varied rhythms utilizing forward motion, the player will feel more confident swinging in the jazz tradition.

Whether it’s playing solo guitar or playing with a group, there are concepts presented here that will help give your lines more presence with greater rhythmic confidence.

• 10 pages of PDF written material notated in standard notation (and TAB for guitarists)
• Running time: 48 minutes

Concepts Included

• Articulating phrases to make them “pop” with added presence

• Bringing out the backbeat (2 & 4) in your lines

• “Laying back” with 8^th note-based lines

• Emphasizing off beats with legato and staccato phrasings

• Playing 3/4 rhythms over 4/4 time

• Short 16^th note “stabs”

• Call & response ideas and related dynamics

• Slurs and other ornamentations

• Grouping triplets in various ways

Outcome from this course:

This class will surely get you swinging in some new ways!