Little differences in rhythm lead to swinging music
I wrote before: swing comes from barely noticeable differences and irregularities in rhythm.
It would surely never be possible to list all rhythm variations, the following can only be some examples.
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First the rule: Every measure (in notes the space between two bars) is completely equally long. Every measure is played the same way and the same speed. |
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Within the given speed one should only imagine slow playing. This usually doesn’t lead to getting slower, but the performance gets swing. |
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In contrast to this, uncontrolled rushing destroys all swinging. |
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This unintended speeding up usually results from pauses not kept long enough, or from longer or dotted notes not played long enough. |
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Therefore pauses should be held as long as possible and the following note started as late as possible, within a given measure. |
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For dotted notes the same is true: short notes start as late as possible, nearly too late. |
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Contrary to this, fast runs made up of 1/8 or 1/16 notes should be played so slowly that it feels just bearable, each of these short notes is equally important, and in most cases they must be played well separated, not smeared with the following note, not legato. |
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Runs and decorations not playable for one at the present skill level, should be simplified. Swing is more important than 16th notes, melody is more important than virtuosity. |
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In the same way, overly difficult multi-voice fingering can be simplified too. An easy melody, presented rhythmically correct, is more important than complex chording. |
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For dance musicians, folk dance musicians, it is easier. Performing on stage without connection often becomes swing-less. In contrast, the relation to the dancers leads nearly automatically to swing if one plays for the dancers and not for the written notes. |
Klaus Karl says in his interview on www.renesenn.de:
"At this time I notice that there are a few groups with good rhythm, and many without. The reason for this interested me. There are two groups with this good rhythm, these were, on the side of “folk music” TOBI REISER and on the side of “folk style music” the Oberkrainer. But why? In both cases the melody instruments pull a little bit, the accompanying instruments brake a bit. This tension leads to this special good rhythm."
This is a good explanation. I would like to go a bit further. My version is:
The bass is a bit early, and the backbeat a bit late.
[Deutsche Version]
