On Apr 12, 2005, at 4:21 PM, A-NO-NE Music wrote:
Christopher Smith / 05.4.12 / 02:11 PM wrote:
As long as we're on that topic, what should be done with the first eighth note of beat 4 in that instance?
That should be slashed 8th as well in Boston, or just do a kick over time, but it is less common. Slashed 8th at the beat 4 really doesn't screw psychological playback, y'know :-)
I think it would be OK on a guitar or bass part, where one might expect the player to sound anyway on the 4th beat, but a pianist or drummer might make a big difference between two 8ths on the 4th beat and one 8th on the "and" of 4.
The kick over time isn't exactly the same thing as notated stop time (rhythmic notation) on a drum kit, either.
I guess I just have to accept the fact, kicking and screaming, that a good solution doesn't exist in our normal notational system for jazz.
Crap.
Christopher
P.S., I have lamented the fact that there isn't a standard way to indicate cues on slashed/chorded piano/guitar parts in jazz arrangements. If I write a hit in rhythmic notation, that obliges them to play it. I was looking for a way to indicate what rhythm the OTHER instruments are playing, so that they can choose to match it, or just to avoid stepping on it and play in the cracks, as they choose (which is more like a real jazz player does anyway.)
I have finally settled on kicks UNDER time - putting a rhythmic cue UNDER the staff so it doesn't interfere with the chord symbols. It seems more normal to me to put the cues OVER the staff, but I end up having to raise the chord symbols so much that it messes up my layout. The pianists and guitarists I have tried this on seem to react well to it.
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