{"id":114113056,"date":"2023-04-12T20:03:04","date_gmt":"2023-04-12T20:03:04","guid":{"rendered":"https:\/\/dheerajchand.com\/wordpress\/patterns-for-jazz-pattern-2\/"},"modified":"2023-04-12T20:03:04","modified_gmt":"2023-04-12T20:03:04","slug":"patterns-for-jazz-pattern-2","status":"publish","type":"post","link":"http:\/\/dheerajchand.com\/wordpress\/patterns-for-jazz-pattern-2\/","title":{"rendered":"Patterns For Jazz: Pattern 2"},"content":{"rendered":"<h2 class=\"wp-block-heading\">2 against 3 and moving in fourths<\/h2><p>(This post discusses both a Pattern For Jazz and my attempt to codify it in <a href=\"http:\/\/musescore.org\">MuseScore<\/a>.)<\/p><p>I hope that, by now, you have spent some time with <a href=\"https:\/\/learningjazzguitar.substack.com\/p\/patterns-for-jazz-pattern-1\">Pattern 1<\/a>. It\u2019s a very cool pattern.  As a reminder, this pattern is played when you have <\/p><ul class=\"wp-block-list\"><li><p>a simple major chord for the harmony of the entire measure<\/p><\/li><li><p>the measure in 4\/4<\/p><\/li><\/ul><p>What makes it interesting is that you have<\/p><ul class=\"wp-block-list\"><li><p>the first half in triplets<\/p><\/li><li><p>the second half in a half note<\/p><\/li><li><p>exclusively chordal tones, which makes the entire measure consonant<\/p><\/li><li><p>simple chromatic motion<\/p><\/li><\/ul><p>As a result, you are counting three against four: the rhythm you play is in three, but the fundamental pulse is in four.  This is a really useful skill to have, you can use it to affect the perception of time. You can also use it to change how you reach target or destination notes; quick climbs and plummets accentuate the destination.<\/p><p>This is a lot about Pattern 1. Here\u2019s Pattern 2. What makes 2 interesting?<\/p><div class=\"file-embed-wrapper\" data-component-name=\"FileToDOM\"><div class=\"file-embed-container-reader\"><div class=\"file-embed-container-top\"><image class=\"file-embed-thumbnail-default\" src=\"https:\/\/substack.com\/img\/attachment_icon.svg\"\/><div class=\"file-embed-details\"><div class=\"file-embed-details-h1\">Patterns For Jazz Pattern2<\/div><div class=\"file-embed-details-h2\">51.5KB \u2219 PDF file<\/div><\/div><a class=\"file-embed-button wide\" href=\"https:\/\/learningjazzguitar.substack.com\/api\/v1\/file\/e5df37ff-f0a6-4a7a-aecf-bff0bc061185.pdf\"><span class=\"file-embed-button-text\">Download<\/span><\/a><\/div><a class=\"file-embed-button narrow\" href=\"https:\/\/learningjazzguitar.substack.com\/api\/v1\/file\/e5df37ff-f0a6-4a7a-aecf-bff0bc061185.pdf\"><span class=\"file-embed-button-text\">Download<\/span><\/a><\/div><\/div><hr class=\"wp-block-separator\"\/><p>Pattern 2: <a href=\"https:\/\/app.box.com\/s\/ok7svbss2vjmy0t3q3u5v9xqcdyq8b8s\">MuseScore Format<\/a><\/p><p>Pattern 2: <a href=\"https:\/\/app.box.com\/s\/ce2n2p8ph5ob23l1b86eam1n5s718a5a\">iReal Pro Format<\/a><\/p><p>Pattern 2 is interesting on its own, but, especially so in sequence with Pattern 1.  Jerry Coker doesn&#8217;t give these subtitles, they\u2019re from me, and show what I think about them. Jerry Coker lets you figure it out on your own.<\/p><p><em>Base Harmony<\/em><\/p><p><em><br\/><\/em>The base harmony moves in fourths for twelve measures, so you will get twelve measures through the <a href=\"https:\/\/deftdigits.com\/2012\/01\/30\/how-to-memorize-and-use-the-cycle-of-fourths\/\">circle of fourths<\/a>.  I\u2019ve never heard twelve <\/p><ol class=\"wp-block-list\"><li><p>This is valuable for the reason I mentioned before, guitar players tend to think in sharps, accordingly, in fifths. Learning to think in fourths makes you think about the same things, differently, but, also, in the same ways that horns players tend to think. They tend to think in flats and fourths, because that\u2019s how their instruments work. This will make it easier for you, as a guitar, bass or piano player, to understand how the prima donna types with horns think.<\/p><\/li><li><p>I have never heard moving through the entire circle in a piece of music, but harmonies in fourths are very common for two or three measures, or even within measures. Learning to hear the fourths is important.<\/p><\/li><\/ol><p><em>Melodic Pattern<\/em><\/p><p>This pattern is a 4\/4 measure with the first three beats in ascending and descending duplets, followed by a quarter note. Here\u2019s some of what you can get from this.<\/p><ol class=\"wp-block-list\"><li><p>If you are so inclined, you can count it like this: [1-and][2-and][3-and][4]. Each set of brackets should be the same length.<\/p><\/li><li><p>Three quarters of the measure are on smaller notes, one quarter is on a longer,  sustained note. That means that you will learn to count moving from fast to slow, but, then, as the pattern repeats, back to fast again from slow.<\/p><\/li><li><p>You are training to count duplets, \u201cOne-and-Two-and-Three-and\u2026\u201d Two is a more natural subdivision of four than three, it\u2019s not as hard to mentally split a beat into halves as it is into thirds. <\/p><\/li><li><p>But you are still doing three sets of duplets! That means you are still working difficult numerical senses against each other:<\/p><ol><li><p>Three beats of duplets &#8211; two notes per beat, in a group of three beats, which you can call \u201ctwo against three\u201d<\/p><\/li><li><p><a href=\"https:\/\/usermanuals.finalemusic.com\/PrintMusic2014Mac\/Content\/PrintMusic\/Common_time_and_Cut_time.htm\">Common time<\/a> &#8211; you are working two against three within a 4\/4 measure, so you are counting two against three, within four.  <\/p><\/li><\/ol><\/li><\/ol><p><em>Relationship to Pattern 1<\/em><\/p><p>This pattern is similar to Pattern 1, in that it<\/p><ul class=\"wp-block-list\"><li><p>has one harmony for the entire beat<\/p><\/li><li><p>is entirely consonant<\/p><\/li><li><p>climbs and descends with arpeggiation<\/p><\/li><li><p>ends on a sustained note<\/p><\/li><\/ul><p>This pattern has some distinctions that are important, namely, that<\/p><ul class=\"wp-block-list\"><li><p>the base harmony is in fourths, not chromatic<\/p><\/li><li><p>the smaller, faster notes take up a larger portion per measure<\/p><\/li><li><p>the longer note is a smaller portion of the total measure<\/p><\/li><li><p>you are counting in two\u2019s, not three\u2019s.<\/p><\/li><\/ul><p>Playing these patterns back to back will force you to develop a very good sense of time.  Two against three is going to feel very similar to three against four, it\u2019s going to be agonising to control your hands to play this correctly. Use a metronome.<\/p><p><em>MuseScore: The Struggle Continues<\/em><\/p><p>The score this time is in MuseScore. I struggled with this one because I couldn\u2019t figure out how to get the tempo to change. But here are some improvements:<\/p><ol class=\"wp-block-list\"><li><p>Four measures per line<\/p><\/li><li><p>Used the transpose method, which preserves the melodic relationships and automatically shifts the accompanying harmony, which is very cool.<\/p><\/li><li><p>The instruments are not helpful. I\u2019d like to be able to save instruments with the following configurations and reuse them, but I haven\u2019t figured it out, yet.<\/p><ol><li><p>7 string guitar, Van Eps tuning (AEDGBA)<\/p><\/li><li><p>7 string guitar, &#8220;heavy metal&#8221; tuning (BEADGBA)<\/p><\/li><li><p>7 string guitar, (ADADGAD)<\/p><\/li><li><p>6 string guitar, (DADGAD)<\/p><\/li><li><p>6 string guitar, Open G, (DGDBDG)<\/p><\/li><li><p>6 string guitar, standard tuning (EADBGE)<\/p><\/li><\/ol><\/li><\/ol>","protected":false},"excerpt":{"rendered":"<p>2 against 3 and moving in fourths<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-114113056","post","type-post","status-publish","format-standard","hentry"],"blocksy_meta":[],"_links":{"self":[{"href":"http:\/\/dheerajchand.com\/wordpress\/wp-json\/wp\/v2\/posts\/114113056","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/dheerajchand.com\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/dheerajchand.com\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/dheerajchand.com\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/dheerajchand.com\/wordpress\/wp-json\/wp\/v2\/comments?post=114113056"}],"version-history":[{"count":0,"href":"http:\/\/dheerajchand.com\/wordpress\/wp-json\/wp\/v2\/posts\/114113056\/revisions"}],"wp:attachment":[{"href":"http:\/\/dheerajchand.com\/wordpress\/wp-json\/wp\/v2\/media?parent=114113056"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/dheerajchand.com\/wordpress\/wp-json\/wp\/v2\/categories?post=114113056"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/dheerajchand.com\/wordpress\/wp-json\/wp\/v2\/tags?post=114113056"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}