On Mar 26, 2008, at 9:05 AM, A-NO-NE Music wrote:
Phil Daley / 08.3.26 / 7:46 AM wrote:
Why? Or should I say how?
That comment makes absolutely no sense to me.
It does make sense to me as well as it did to Christopher. I think
the
key here is "style" as in "culture".
Christopher Smith / 08.3.26 / 7:38 AM wrote:
(An interesting exception to the jazz swing convention: the tune All
Blues, which for some odd reason is usually notated in 6/8 with swing
16ths, rather than the more conventional 6/4 with swung 8ths (like
two bars of jazz waltz). Nutty.)
Well, I must disagree on this, tho. Unless the style is jazz
waltz, you
don't swing 3/4 as 1, 2, 3. You swing on the downbeat only. I can't
stand when unknown drummer swing on 1, 2, 3 on my compositions
because I
don't write jazz waltz. In the same context, you want to swing in 2
beats on All Blues, so 6/8 is much more logical than 6/4 to me. I
hope
I am making a sense here.
I think there are a lot of different ways to swing a jazz waltz, and
a straight 3 (or 6, if you are thinking 2 bars at a time, like All
Blues) is certainly one of them.
My point was more along the lines of the subdivision, being that if
All Blues is notated in 6/8, then the bass player is walking even
8ths and everyone else is swinging the 16ths. THAT is the unusual
thing about the notation of that tune. It is completely out of
character of the notation of almost every other jazz tune.
And actually, now that I think about it, I am wrong about All Blues
being unique. Mingus' "Better Get It In Your Soul", recorded first in
1959, roughly the same time as All Blues, was described by him as
being in 6/8 AND as a jazz waltz, though Andrew Homzy re-notated it
in the more conventional 6/4 in his More Than A Fakebook. And THAT
tune certainly changes feels, though not meter, during each
performance I have heard on recording (I have about three recordings
done spanning 20 years or so).
Christopher
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