John Riley- Beyond Bop- Implied Time, Metric Modulation

[tim1987]

Hi Guys,

I'm bringing this book up as a topic again. I think this is the best text I have read on the style and development of jazz into the 60's. To be honest I've only really studied the Three Voice Comping section. I've got them phrases nearly down with the normal ride pattern. But then it'll be another puzzle when I try to break the ride pattern up!

Anyway, my question is about the 3rd chapter, I'm not wanting to really study this yet, because I have a zillion things to improve on before I get into implied time. I just want to understand the theory, maths and numbers behind it.

John says that the rhythm section would seem that they slow or speed up within a song, but actually all it actually is is logical superimpositions over the original tempo.

In the first example, he gives the most common modulation- 6 over 4, which is quarter note triplets over the quarter note which becomes the new tempo. I understand this

Can anyone explain what the numbers mean in the following?:

2 over 3 in 4/4, the use of dotted quarter notes to stretch the time

4 over 3 in 4/4, at the slower tempos, this would create the feeling of speeding up.

2 over 3 in 3/4

4 over 3 in 3/4, doubling up the dotted quarter note,

and then according to Riley a deceptive superimposition- 9 over 6 in 3/4- quarter note triplets on 3/4

And finally to stretch the time, odd numbered groups of notes 5, 7 etc can be used.

I suppose we're dealing with polyrhythms? Though not strictly because the definition is two separate rhythms been played simultaneosly, which isn't what we're dealing with?

This stuff is very hard/advanced, and I just want to grasp what I'm reading and listening to, though I won't be able to do it, because it's working with the click.

Thanks a lot

[Wavelength]

In the first example, he gives the most common modulation- 6 over 4, which is quarter note triplets over the quarter note which becomes the new tempo. I understand this.

Can anyone explain what the numbers mean in the following?:

2 over 3 in 4/4, the use of dotted quarter notes to stretch the time

4 over 3 in 4/4, at the slower tempos, this would create the feeling of speeding up.

2 over 3 in 3/4

4 over 3 in 3/4, doubling up the dotted quarter note,

and then according to Riley a deceptive superimposition- 9 over 6 in 3/4- quarter note triplets on 3/4

They all work with the same logic:

- 2 over 3 means that you play two notes per three quarter notes. When you divide three quarters into two notes, you need to use dotted quarters.

- 4 over 3 means that you play four notes per three quarter notes. Now you need to use dotted eighth notes in a straight 16th note subdivision.

- 9 over 6 can be divided down to 3 over 2 (which is the same as 6 over 4)

The time signature changes the way a polyrhythm resolves back to its beginning, but essentially all polyrhythms work in the same way in any time signature. I wouldn't jump right into the deep end of true metric modulations, but rather work on getting those super-impositions solid at any given tempo. Keep the original tempo with your hi-hat and ride cymbal, and play the super-imposition with the bass drum or the snare drum. Keep it very simple, and be sure to count and relax. Eventually you can move on to articulating these rhythms using different orchestrations or repeating phrases. Using polyrhythmic sequences is a great way to create interesting solos or comping figures, and working on this topic will develop your sense of time immensely. Recently I've been working on the same thing, but in 5/4... ouch!