Dractice tips lor drummers
While learning the examples in this book, it is helpful to keep the quarter-note pulse with either the hi-hat or
bass drum. This is good for coordination as well as rhythmic understanding.
Be creative. Improvise within the core rhythm. Try playing the quarter-note pulse with two limbs while play­
ing the core rhythm with the other two limbs. Try alternating these patterns between each pair of limbs. Then try
playing the quarter note with one limb while the other three limbs play the core rhythm.
Drum Key
cymbal hi-hat hi-hat bass drum snare
with foot
1. Play the core rhythm while keeping the metronome on all four beats of every bar.
IIiL r J J F
practice tips lor bass'plavars
We found that there is a tendency to play shorter notes when they are anticipated or delayed, particularly
when it comes to the core rhythm of walking bass. In order to create the illusion of the time shifting temporari­
ly, it is important that you play the full note values.
As a bass player, you must not only superimpose a core rhythm over a fonn - which is challenging enough ­
but at the same time you must displace the harmonic rhythm. Expressing the harmonic structure of a piece when
the bass notes don't fall on beats one or three is not easy. If you find that you are having trouble with this see if
the following suggestions help:
First, play the core rhythm or groove against a metronomic pulse making sure that you are completely secure
with that. Then add the fonn but stay on one pitch and don't worry about expressing the harmony yet. Check to
make sure you are hearing the fonn in your head. Finally add the harmonies. If you are unsure about where the
chords fall in the new harmonic rhythm, write out a few choruses and consult the examples later in the book.
6 1
practice tips lor pianists
All of the exercises and ideas presented in this book can be applied to comping as well as to soloing. Many
pianists have limited independence of the right and left hand, and it is not uncommon that the left hand will fol­
low the right hand or vice versa. Here are some suggestions on how to develop more independence while work­
ing with the core rhythms in this book.
Preliminary exercises
Pick a chord and voicing that are you are comfortable with (either left hand or two-handed voicing) and stick
with it.
2. Play the core rhythm while keeping the metronome on beats two and four of every bar.
3. Play the core rhythm while keeping the metronome on beat one of every bar.
4. Replace the metronome by tapping your foot and repeat the above exercises.
If you are comfortable with this, repeat the exercises while playing them over a fonn. Adding the element of
fonn can get pretty challenging, particularly if the core rhythm goes over the bar-line and therefore changes the
harmonic rhythm. Choose a chord progression that you are really comfortable and familiar with. The less you
have to worry about finding the right notes or chords the better. You can find some suggestions on how to
approach the subject in the chapter about harmonic rhythm.
Left and right-hand independence using the core rhythms.
Pick a chord and a left-hand voicing that you are comfortable with, and a scale in the right hand that fits with
that chord.
1. With your left hand, comp on all four beats of the bar and play the core rhythm with your right hand using
notes of the scale.
2. With your left hand, comp on beats two and four of the bar and play the core rhythm with your right hand
using notes of the scale.
3. With your left hand, comp on beats one and three of the bar and play the core rhythm with your right hand
using notes of the scale.
4. With your left hand, pick a standard comping rhythm and play the core rhythm with your right hand.
Reverse the exercises.
1. With your le·ft hand, comp using the core rhythm and with your right hand play half notes using notes of
the scale.
2. With your left hand, comp using the core rhythm and with your right hand play quarter notes using notes
of the scale.
3. With your left hand, comp using the core rhythm and with your right hand play eighth notes using notes
of the scale.
Next repeat the exercises but play them over a fonn. Again, choose something that you are really comfort­
able and familiar with. The more advanced you get the more you can experiment with making up your own exer­
cises. Try to play the melody of a tune in your right hand while comping core rhythms in your left. You could
combine two core rhythms, for example: solo using the core rhythm of quarter-note triplets in your right hand,
and comp on every second triplet in your left. The possibilities are endless.
eighth-Dote triplets
DVD Chapter 5: Starting on the third triplet

This chapter deals with the core rhythm of eighth~ note triplets. It is essential in all triplet-based music, Core Groove A: Swing
such as swing, that you are able to feel equally comfortable on all three parts of the triplet. If you don't have
this foundation set, all subsequent metric modulations based on triplets are going to be shaky and insecure, so
.--- 3 - . , r-3 --, r -3-., r -3-.,
make sure you really have these exercises down before you move on.

The form we are using for the exercises in this chapter is a 12-bar blues in the key of F.

Watch Chapter 1 on the DVD to see how eighth-note triplet modulations can be applied in a musical way.
IIICII:} fg ~ ~ ~ i Q ~ ~ ~:II
~3--' ~3~

DVD Chapter 3: First Triplet

Core Rhythm
F7 Bb7

n on gn
.---- 3 ----, . - - - 3 ----, .---- 3 ----, .---- 3 ----, ~ 3 --,

tLJ
.-- 3 --, .-- 3 ..--, ,-- 3 --;, r-- 3 --, r- 3 ---,

•
j),,)),,),,), ,
•
etc.
I~h 'I ~ ~U ;L.J J:) ~JSJJ
....-.3-.-.J "-3-J '--3--'
[I etc.

A quick note: the first triplet is obviously the downbeat of every quarter-note, and while this might seem DVD Chapter 6: Second triplet
deceptively simple, it is not. Just playing quarter notes while keeping good time and swinging hard is more dif­
ficult then you think, and should be the foundation for any more complicated and advanced patterns. Core Rhythm

Core Groove A: 4/4 Swing r - 3 ----, .----3----, r-3 ----, ,.............3----,

I !lll: L EJ EJ
L :11
III r ) , r ) , r ) , f ) 'I
etc

3 3
DVD Chapter 7: Starting on the second triplet
Basic Walking Core Groove
Core Groove A: Swing

F7 Bp7 r-3 --, r - 3 -., r - 3 --, .--- 3 - . ,

I '1: Ii I 1­ 1,. b. etc. O,,}l,Q,,}l,

F
I

, \1 J .. • • I ij. T 3 I .. nih:
1""11- ,
-II
-II
I'D 'I'D '
' -3 ------' '--- 3 - - - - - - L
DVD Chapter 4: Third Triplet
Core Rhythm F7 Bb7

r-3 ----, .---- 3 ----, r - 3 ----, .---- 3 - . ,

~h ~3~
19:e Ij J j J__J) LJ
~3~ ~3~
Ifj r~
5~1 r p"r-p r=1 etc.
"),,),,),, )
""'-"'" a--- 3 ---' L....- 3 ---'

etc.
• ==--- DVD Chapter 8: Aaron demonstrates on the piano how to solo using second and third triplets.

8
9

eig'hth notes You can also think of these exercises as a grouping of four eighth notes that is being displaced by an eighth note.

This chapter deals with the core rhythm of an eighth note. Again, you want to feel equally comfortable on Core Groove B: Half-Time Swing Feel

i ~~ i ~~
all eighth notes in a bar. This is the prerequisite to more complicated metric modulations. The form we are

~ ~ ~ ~
using in this chapter is rhythm changes in the key of B flat.

Watch Chapter 9 on the DVD and see the trio apply the material in this chapter over "Rhythm Changes". 11Ill11: i j I i J :11

B~6 G-7 C-7 F7 D-7 G7 C-7 F7

Core Rhythms
First eighth note on One and Three. I :>= ~J J 1 J j 1 r r 1 j r 1 etc.

IIlll: tr t F F F F F :11
DVD Chapter 12: Core Groove B displaced by one eighth starting on the second eighth note. Eighth notes are
swung.

DVD Chapter 11: Second eighth note on the and of One and Three.
III ell: $ ~ i t ,; J i . I ~ t i . ; ~ _i J :11

t tf
I1l11: F F F F F :11
19:,
m6

~J&)
G-7

j u·_ ___
C-7

1
F7

~ ,~;J~c J~=P r,~,9 F:--

f1)
D-7

l U-J_) r- I
1
G7 C-7 F7

DVD Chapter 13: Third eighth note on Two and Four

~ ~ j) ~ ~ ~ j),
I nil. - _=.:11 DVD Chapter 14: Core Groove B displaced by a quarter note starting on the third eighth note.
I \/11· r r r, r r r r J­ ·11

DVD Chapter 15: Fourth eighth note on the and of Two and Four. IIUlll: ~31 J i r, I ~31 J i ,r :11

IIlll: F F F F F t # :11
As a harmonic instrument you have the option of either anticipating or delaying the harmonic rhythm. Both work:
just be aware that anticipating the harmonic rhythm will create a sense of forward motion.

10 11
For bass, delaying the harmonic rhythm looks like the following example: Below is an example of a simple funk groove displaced in the same manner.

m6 G-7 C-7 F7 D-7 G7 C-7 F7 Core Groove C: Funk

[77Ft 1 etc. budl.

1":31·
rE
r rE ~ tE =TIE
I r rE
F
~ J< _ .11
·11

F7
~ ­
Whereas anticipating looks like the following example:
r?run
r- II --.
I L ~r ! l'f Jl J 17~ r :11
II

B~6 G-7 C-7 F7 D-7 G7 C-7 F7

Displaced by one eighth note starting on the second eighth note.
I:J: e - 1 ~Jd < J J 4 I) r r' 4r' r J, I) r ~J, . ...I etc.

111Il11: ~ E 'J ' E 9 r I~ f f ij 9 ~ 9 r :11

DVD Chapter 16: Core Groove B displaced by three eighths starting on the fourth eighth note. F7
1'1:,.11...
, " II· J it it ~ .. I,
I·
-
• •---
•
1)&. _
P'
.11
·11
3 3

Iii "l I: £ Q; ; ~ ~ I .GJ i ;~ :11

Displaced by a quarter note starting on the third eighth note.

etc.
m6 G-7 C-7 F7 D-7 G7 C-7 F7
Ilmll:r r t' f I!' r r f :11

F7

~ ~
11>:" II:j J: l E Il ,J) Izr :11
DVD Chapters 17,18 and 19: Aaron demonstrates on the piano how to apply the second, third and fourth eighth
note displacement to soloing over "Rhythm Changes".
Displaced by three eighth notes starting on the fourth eighth note.
DVD Chapters 20, 21 and 22: Here the trio demonstrates the musical application of the second, third and fourth
eighth note displacement over "Rhythm Changes".

I" (! II:' rg , t' 'J I' F' J' t '1 :11

F7

ItJ: Ell I:' J Jl j , , ~ Jp

----
'* )1 J ~p :11

• 12 13

guarter-note triplets in 4/4 As a bass player you have the choice to either anticipate or delay the harmonic rhythm. Anticipating chords
- in this case playing the chord change on the and of beat Four as opposed to on the second eighth-note triplet
of beat One - gives the bass line a nice forward motion.
This chapter deals with the core rhythm of a quarter-note triplet.
F7 Bh
If you are not completely comfortable with playing quarter-note triplets, go back to eighth-note triplets and ,--- 3----'
make sure you are comfortable with those fust. Eighth-note triplets are the building blocks for quarter-note
19: (I 1 I;U J br F r p I ~ £ J d F ~F ~
J~ ~3--' ~~
etc.
triplets.
'-----'3 3 '----- 3----"
The form we are using for this chapter is a 4/4 blues in F. DVD Chapter 27: Quarter-note triplets grouped in twos .

Watch Chapter 23 on the DVD and see the trio apply the material in this chapter over a blues. Core Rhythm

Core Rhythm .-------3-------, .--------3-------,

le~
.-------------3------------~

r ~ r ~ r
.-------------3------------~

~ r ~r ~ rI etc.
I ell: t L
3
~ r ~ r ~ L ~ r_ ~
3 3 3
r
H

:11

Core Groove A: Swing

Take a basic eighth-note triplet pattern and accent every other note. The pattern repeats after six eighth-note
triplets or two quarter notes. ,------3 -----, .-------3--------,
3 3 3

DVD Chapter 25: Quarter-note triplet starting on beat One.

In 4/4 time, the pattern repeats after one bar.

Core Rhythm
1"(111: i
'---3
r ~ J ~ r' J ~ fP :11
' i i 3------'

,.------- 3 - - . , r - - 3-------i F7

trJ Eir ffi Eir

~_-3

I E!II: :11 19: e J J J 'r r r 1

L- 3
...-l
etc .

3 3 3 3

DVD Chapter 28: Quarter-note triplets grouped in threes.

Bb7
F7
,----3---'
Core Rhythm

1!J J 3 j I/~ rEI F r j ~J F ~F etc.

.-------3-------. .--------3-------.
~3 3- 3-----1

DVD Chapter 26: Quarter-note triplet starting on the second eighth-note triplet (you can also think of it as
starting on beat Two or beat Four).
Iell: 2r ~ r ~ r ~ L ~ L ~ r :11
3 3 3 3

Core Rhythm

i 3 i i 3 i

~~ ¥ r ~. 3 3
r ~ r fa r
3
~ _r ~~:II
3

14 15
Core Groove D: 3/4 Swing Core Groove C: Funk
3 3 3 3

11I1l11: F f! J ~ , r F f! f ~ , r :11 III:!! 'F

L 3 --l
:JJ F~l~ f IT f t [~tP ff f t f fit f t f r L~I
L3-.-l 3 --l L-- 3 ----1 L 3 --l L-- 3 ----1 L3-.-l L 3 --l L-- 3 ----1
etc.
L-----~----3----------~ L----------- 3 ----------~

F7 m7 F7
~
3
~
-, ,3----, , 3----, , 3,
19: e J ,---
j
3
.

~ &
r ~ etc.
1,: 'i
L 3 --l
r *.. * ~J )1 * "p-r- * 1 r r
L- 3 ~
'i
L3--l
* j u 'i 'i )1 ) J t:
~
t etc.

DVD Chapter 29: Quarter-note triplets grouped in fours. DVD Chapter 32: Displaced quarter-note triplets in groupings of three.

,-3-, I 3 I '--3$
Core Rhythm Core Rhythm

Inil: ~ r ~ L ~ r ~ L ~ r ~ r I~ r ~ L i r ~ L ~ r ~ r 'II
3 3 3 3 3 3 3 3
111lfi ~ r f f ~ r 1r ~
,
J 3
,
3
,
r?J1I
3

Core Groove F: Bossa DVD Chapter 33: Displaced quarter-note triplets in groupings of three.

~3~ ~ 1r=f i f:11

Core Groove D: 3/4 Swing

1111!11:rl
3 ---1 , , leU) IT f' r L~IT t f ' r r :11
F7 --3 3 I I 3 -=-
3 ------'
~ 3 --, ,--- 3 ~ '--- 3 ~ , 3--, ,---3 ~ ,--- 3 ~
19: e j J) j 'i j J ., ., ) 1j ) J Ii F3 ., ., ) 1etc. F7
, - 3 ----, r---- 3 - - - - '
19: C 'I J J J 'r r ~1<,p 3,j ~J r I'F gr ~71' etc.
L--3~

DVD Chapter 30: Here the trio demonstrates musical applications of quarter-note triplets over a blues.

also: Displaced quarter-note triplets in groupings of three.

DVD Chapter 31: Displaced quarter-note triplets in groupings of two.
Core Groove E: Slow Blues in 3/4

f f ~ f f ~ f ~ f f ~
Core Rhythm

III !!II:' I' f :11

3 I I 3 _

~ ~ ~ ~
L 3~ L---. 3 I L-- 3 -..:..J L 3~ ' - - 3 ----.-J L-- 3 -..:..J

L
3 3 3
L r r == :11
16 11
 , 3, r -3 ---, ~3---"l13-, doned qUarter notes i·n 3/4
19: e, J 1 J J 1 $g)) d 1
'---_ 3
J r
I
1 f51
L - 3 -----.:..J
etc.
This chapter deals with the core rhythm of dotted quarter notes in 3/4.

Dotted quarter notes are eighth notes grouped in threes.

DVD Chapter 34: Displaced quarter-note triplets in groupings of four.

The form we are using for this chapter is a 24-bar C minor blues in 3/4.

Core Rhythm
Watch Chapter 36 on the DVD and see the trio apply the material in this chapter over the tune "Pawprints".

DVD Chapter 38: Dotted quarter notes starting on beat One.

Core Rhythjo J. J. J.
I 9 1100 -
I 411 r r -r r I-
r- r- r- (- r- r r r
I'
_
oil -0[1
Core Groove A: Swing

* f * P IT I E~ t* ~ DVD Chapter 40: Dotted quarter notes starting on the 'and' of beat One.

11IIl11: P L
IT
3 --.J L - 3 ------.J
'i IT
L - - 3 ----.J

:11
L-3-----.:..J L3~

Core Rhythm

...-- - ~I

,--3--,
~
111': ·
I ~0 _ _ ~---~
_ 1- { 1 _ _ ~~ ~:11
_

1_ I I-.J r r r r r r
DVD Chapter 35: Here the trio demonstrates musical applications of displaced quarter-note triplets over a blues.
DVD Chapter 42: Dotted quarter notes starting on beat Two.

Core Rhythm

IW~ ~ . { ~ ~ ~Iir r~ ri' r~ r~ rOil

~- I

DVD Chapter 39: Dotted quarter notes grouped in twos.

'\
Core Groove A: Swing
J
!lIlT · f ~ I L" f Q :11

C-7 F-7
1.._0
F'l: 1F I . IYT.--- I ,. I ~o I F
, 4. « 0
0

II - « 0 II « 0
P

[-, - r
~ 0

18 19
 DVD Chapter 41: Dotted quarter notes grouped in twos starting on the 'and' of One.
C-7 F-7

Core Groove A: Swing

I~:I U IT fTr J plF J ~fTt r fI etc.

III II H IT" ~ IP r- ~ :11

DVD Chapter 44: Dotted quarter notes grouped in threes.

Core Rhythm

Note: The hannonic rhythm can either be delayed by an eighth note;

C-7

I~:' d- or- 1$ E" W

F-7

r tJlr t etc.
1'II:b J- 0 I§ [#- 0 Ib J- u :11
Note: Accent every third dotted quarter note.
or can be anticipated by a quarter note.

I': ! taJ) ~F' . riD J FlO JF lOr r--I

C-7 F-7

~-
etc. DVD Chapter 45: Dotted quarter notes grouped in threes.

Core Groove D: 3/4 Swing

~: ~_ .b~: I~~
DVD Chapter 43: Dotted quarter notes grouped in twos starting on beat Two.

Core Groove A: Swing

')( ')(, ')( ')( ')(, ')(

1III .b I f: }I f- r- .b I

I" III: OJ PI ~ II' PI ~ :~

Again the hannonic rhythm can either be delayed by a quarter note I.d-, . ~-, Ii, .b i-, I;-' i, .b:-
I, ;-' etc.

C-7 F-7

19: I I J "am F' ttJ r ttJ ~r p"'l etc.

W, J
C-7

~r- I c-
"

J
F-7

r ~r I J- r
or it can be anticipated by and eighth note.

C-7 C-7 C-7 etc.

19: 'r' J J. F' I 'Jr' F' I J. r'

20 21
 DVD Chapter 46: Dotted quarter notes grouped in threes starting on the 'and' of One.
dORed qUarter-notes in 4/4
Core Rhythm

This chapter deals with the core rhythm of dotted quarter notes in 4/4. T~ere are two dotted quarter notes for

trti 0' @lU· an

every tlu"ee quarter notes and in 4/4 the pattern repeats after three bars. The form we are using for this chapter is
a typical 32 bar AABA form. Watch Chapter 50 on the DVD and see the trio apply the material in this chapteF
11I1:E1 U Er over the tune "Take the G Train".

DVD Chapter 52: Dotted quarter notes in 4/4

Core Rhythm

DVD Chapter 47: Dotted quarter notes grouped in threes starting on the 'and' of One.

Core Groove D: 3/4 Swing

r r rrrri
III! i~: ~ I~~: ~ I; ( ~ ~ I~~: ; DVD Chapter 53: Dotted quarter notes grouped in twos.

Core Groove A: Swing

PH L~P f PIf '0 L~I

etc.

III· ~ IllId· Po rl~ f P IT"

Cmaj7 D7#11 D7 etc.

C7 F-7
I '1:
IJ
Ii
\, -.
_. ~ - I~
I V ;I. -.
_ --, _
D.I F
r ~·I s~·
I 'I •.
_~ I
F
~~ ~
1,: I '1
-

J. hr"> I) F" ;g bJ r l

r 1m· r
C-7 C-7 DVD Chapter 54: Dotted quarter notes grouped in threes.

w.=~ I
r t
C-7
'
-i jJl l t------I~ 'r· F~ lp J. F etc . Core Rhythm

DVD Chapter 48: The trio demonstrates dotted quarters starting on One.
lell:~·L L~·u ~l~~·L r~·L r pq c~·r Ltr rItr L?·C L~l~ tr r~·r LP

~ r ~. r r p. cr tr L ~. Lr t7T~ ~. L r ~. L r t# r ~. r r tL r
DVD Chapter 49: The trio demonstrates dotted quarters starting on the 'and' of One.

I :11

Note: Accent every third dotted quarter-note. This rhythm repeats after nine bars.

22 23
DVD Chapter 55: Dotted quarter notes grouped in threes.
core grooves
Core Groove D: Swing in 3/4
Here is a listing of the core grooves we are using on the DVD

In f: ~=0qJP: f SIr f:f ~Il F: f I~ f: f: ~J Core Groove A: 4/4 Swing

lit} f: f: If P r f=r~ f P f: ~Jf f P f:

etc.

I" !!II:( f 'r t:

3
f~
3
r :11

Note: Pattern repeats after 9 bars. Core Groove B: Halftime Swing

CMaj7

19: e J. r· r 'I! ~ D J. J. P1'r

D7Ul

J. r· 11r- 3. r j
I" 1\11:( a
3' ! f * r :11
'-----3----'

D-7 G7 CMaF D-7 G7 etc.

I9: ~p r r. D~I r r. r. I·J .r. r7l ~ F. ~.r

> ;2..-1 Core Groove C: 4/4 Funk

III ell: E r F riC C F -r :11

The following are some more examples of core grooves of dotted quarter notes grouped in fours .

Core Groove C: Funk

etc. 19: ell: J 1 F I I, ~
J)
~
I/F r :11
fie r P~L ~G~ IT" t: 'it ~--I
r=~
'
IT" I,: _p~r r~
etc. Core Groove D: 3/4 Swing

19: e j ! -~. =I~.

J ' ) ~ J• ___J -~ _ ,J)!.
~ I J. l J,_/ 1

f: r f
1

Dotted quarter notes grouped in fours starting on the 'and' of One.

IIIIII:F :11
etc. F7

I"!!' f: r- flf r~p F: If: f ( Tp f: L" fJ

1:1=III:J J J :11

etc.
L:9fn .. ). I) 1 ) I) I)) IL ). Fl 1
I,C-----P J. ~ -,:±,- ~ - J. 1 J. ~_<- ~ J." ---"':'1 or

DVD Chapter 56: Trio demonstrates dotted quarter notes in 4/4 time.

24 25
 F7 displacing the harDlonic rhvthDl
1:1= III: J. J. :11 Some of the previous exercises involve displacing the harmonic rhythm. When you apply a core rhythm such
as a dotted quarter note to a harmonic structure, the harmonic rhythm will be displaced and chords will no longer
fall only on beat One or beats One and Three. Sometimes there will not be enough beats in the new time to
express all the chords, and sometimes there will be too many beats and you will have to repeat chords. You have
to try to fit the new rhythm over the existing harmonic structure/form and make it sound musical. Often times
you are faced with having to either anticipate or delay the harmony; both work. Anticipating the harmony will
Core Groove E: 3/4 Slow Blues give the tune a feeling of forward motion, whereas delaying it will give it a feeling of stretching the time.
Here is an example of a dotted quarter harmonic rhythm over an F blues in 4/4. The chord changes that do

111 111:, L t Ie [ , :11

not fall on beat One or Three are anticipated.

F7 BI17 F7 F7 BI17

F7 14 Ilil''f,. ,.f ,f I~ r,. ,.f 3,

~
1( ,.
r ,.f I"f ,.f ,r
I,: III: j J IJ J :11 BO F7/C A- 7 D7 G-7
In. )
,p r
)•
r
~• ~ 4
-P' f -
; ~•
y- r =:Ir
,J • ; •

r
) •

r
,J I~
'D
,J

r=- F
, • ,J • ..,4
D]
C7 A-7 D7 G7 C7

Core Groove F: Bossa

''"" _ ". -- _. ". ;. ". " ;;. ;. " ct" " ". ;. .11
I r r r 'r r- r 'P r r D' r r r 'f)

III I!II: f Ef f Ef :11

This is what a bass line for the above example could look like.

F7
F7 B~7 B~7

I,: ell: J. l J
J). Jc :11
.J F7 F7
~.---
,7
, q: nFF.==i--
\'11' ~. ~
T· I

P!!
,­ ,PI
, FT
_. -T- -
iJ'
-=nl
w;;JiJ"
-~--

F
-,;:--, -
'I
~. F

BO F7/C A-7 D7 G-7

I-P r' r } IJ r' r. I·J J

~. J_ I) J. r' PI
C7 A- 7 D7 G7 C7. C7
~... 1*-' ~... __ -_

26 21
 Here is another way of playing the harmonic rhythm. Some of the chords are now delayed. Here is a dotted quarter core rhythm over the chord changes to "Take the G Train", a typical 32 bar, AABA
form .

Take the G Train

F7 Biry F7 F7

I-ell'
- 'r~. r~ . r~;I'Vd -Ir~. t~ iG1F
pi 'I r;.
1- r;. I, (,, r~. r; = 1 o fl
Cmaj7 Cmaj7 D7~1l D7#11 D-7

11,ell=
iJ - - -
(~- (" --7ZF?t ("
1 - - 1- --~-----y-
(" Tqr
r
("r---- (" 1
I". ".--- -79
r--~
Biry BO F7/C A-7 D7 G-7

l~;' ~. 11 ; ~. ~. I ;. ~. , 11~' ;. {=-j

r f ~ f f f r f r ~r f ~ E; _
G7

/=1';
Cmaj7 A-7 D -7 G7 Cmaj7

C7 A-7 D7 G7 C7
'pr
~..
f)._ P 'f f-r----=rr
h li [ Ie ~. 731
r-=r= rp-T---r----p-n
_ _ _ _7 G" l~ _ ~. Ie

1-; ;.
iff
~. I ,.
r
;.
f
~
f
I¢~.
' f
;.
r
11r
~ r~. ~.
f
'11
. 09 Cmaj7 D7 D7
~
~ 1r_;. ~ _r_==r:;\, ,;-=+;
- -

r ~. _ , ;. _ _ __ r;. _ . ; J I-
1
I- ; ; ;.
1 ,
;.

UI 'I 1 - 'f' I pi 'I - I

D -7 G7 Cma j7 Cma j7 Fmaj7
13

This is what a bass line could look like for the above example. EF - T- - - f-- J
r=;.---- --;: ----:-
~
-7-~----;.
~F1--- - - T--- --- -p 3T - r;.
---- -;: ----------;-c=t';
-r-
;.
1 r;. _
r
Ie

-T...-"-"""'-11 ~

[I] 17 Fmaj7 Fmap Fmap D7

F7 Biry F7 F7
II.J __ ~._ _ n _ __~---=t"~_ 7·_ 7. ~. ~. -7---=---"f'; ;. ~. ~25j

II: J. J. it . I~I d· l tJ) F' "f " If J. W

II P r r p' r r r 'f r - r 'P f r p-,
21 D7 G7 G7

tf- 1( ---;---:-
r _ (<7Fi1 r;. ==ll
r' D-­ I
Biry BO F7/C A-7 D7 G-7
~.;. ~.
[;:---ClYr_ ( r;. ~.
,
[J) ~ J. r ¢J r r" ~
I·
~
r - ~
1:oJ)
~
-J. 1
_ -_r _ 1( _ ([
1 - - 1 - - -1- - - r- - - - , - - i - - - T - - - r - - T - - i

D7 G7 C7
025 Cmaj7 Cma p D7~11 D7#!1 D-7
C7 A-7
II ,;. r
). :;::=F,A). J. - - )47 - - ;-. - ----;.-- 1--;-· - -_ -;:- - - ,'::::71
"1 --- - - F - -- Tr - -'}'r l -_ Ir - - -p==
_, _
-----~i
f{ - ,
'I
r _ , r r
'I

29 G7 Cmaj7 A-7 D-7

f ----~
r - -f
~.
-
1Of'
~~
~.
f
- ,.
f
I ,. - ;.
r r F f1 ;.
C

+r f
~. 111
~
Notice that the basic rhythmic pattern repeats after three bars.

28
29

 Here is a bass line for the same dotted quarter core rhythm . Chapter 34 from the section on quarterenote triplets. The Core Rhythm is a displaced quarter-note triplet in
groupings of four and the form is a blues.

Take the G Train F7 m7 F7

, - 3 ----, , 3 --, . - 3 --,

~ Cmaj7 Cmaj7 0 7 ~1l 07~11 0 -7 IZJ: II: , F L 3-1

J I * _' ,~JtJ * I'J: J I* "J)'--"J *
Iell: J. r' @ r' IJr' p1 r r' IF' Ir F' . r B~7 Bdim F7/C
, 3--,

A-7~5 D7

~
3

G7 Cmaj7 A-7 0-7 G7 Cmaj7

r
[t): "J
,

F I* on
L- , ~
n * I~ j - J I* H
L- 3 ~
n *
r~ r" r" rn r rim" r rip r . r" tJl
G-7 C7 A-7 G-7 C7
, - 3 ----, , 3 --, '- 3 ~
~ Cmaj7 07 07
19:, F J II " ~JtJ * I' J J I *" bA * :11

lid { r" Ir ~r hr-~

I I r" r' p1 r F" F'
L 3-l

0 -7
G7 Cmaj7 Cmaj7 Fmaj7

IF' F' r775FP F' F' W F' r'l r r-' r 11

Below is the same example but with Core Groove C: Funk.

F7 B~7 F7
~ Fmaj7 Fmaj7 Fmaj7 07
/3~ , - 3 ---, , 3 -,

III OJ. J. W 'r" rn" Ir L" rip J. . fiJ" (I /9: II: , r

L 3 -l
* * ~J7q * "¢~r * I' F F * J 1* " J) )1 J *
'- 3 ~ L 3 -.J '--"

B7 Bdim F7 A-7~5 D7
G7
0 7 G7
, 3,
- , 3--,
le_~'
FF -==r
_-I
.'
- 1 ":,--
[F
_F , 1 p!f
IF
~' _ ,_
F ; l 1 1;1
-- k
___
1 I
~
~' II
II I:hd ,J 21 * ~'p '- 3 ~
r * I' r L 3 -1
r * J Ii" ~ ~ F *'- 3 ~ 3 -1

~ Cmaj7 Cmaj7 07~11 07~1l 0-7 G7 C7 F7 G-7 C7

/ 3 , - 3 ---, , - 3 ---, , 3 -,

I r" J. J-1J J. J. atiJ J. OJ. I J" J. F

I~: , F 1 * J 3
L 3 -l
31 * " 4) * I ' F F * J I * , ,4[:;1 J * :11
L 3 -.J

G7 Cmaj7 A-7 0-7 G7

If r' F' ~~IFF' J, IJ. J. r Ip F' F' 4IJ1

30 31
 chord progressions
Take the G Train

Blues in F
o Cmaj7 Cmaj7 D7~11 D7~1l
F7 Biry F7 F7
I'll ~r r~ ,, ,, I~r r- r- r~ I~r r~ - r~ r 1-, r, ,, ,,
C7

I@ e;r
fJ
'; c" ,; c~ z" c~ _ ? ; "
r " r
e "r "J e
~ ; r;
r ~
,
D-7 G7
II.E-7 A7 D-7 G7
11 Cmaj7
2.
Cmaj7

II' e" e" e" ~ c

Ic ~ c
" r" "
I I I f; r" I"r e~ e~ L"- e
·11 ~c~C~?2 I e
~ r"C~ ?~ I
Biry Biry F7 A-7 D7

r
,-­
) ~
r r~ r:; f_,J ---­
,I ~
r r~
Il r
J
r~ ~
r ~
r~ r~ ,I ,~
~Fmaj7 Fmaj7 Fmaj7 Fmaj7

G-7 C7
I r" t r" c~ I, 2 r; e
" r
" r I" c" r; c~ I"r r " ~ ,I
r
G-7 C7 F7 D-7

,
~ _) _ =--------.1
, , "
~ I ~
,
; ,
~
,
; ~
~,
; ,
, ,
J I,
""
, ; ~
-II D7 D7 D~ G7

I;,. r~ r~ ~
C I;
, r~ r~ r~ I~r r~ ~ r
e ~ r
I~ c~ r ; ~, "
Pawprints 0Cmaj7 Cmaj7 D7~1l D7~11

~
c:; r:; r:; e r:;
e~ ~
e ~
r r~
r~ t
,
r~ ~
r ,2 ?
,. ~
,.
C-II C-II F-II F-II
fJ
I~ V"
;; r r" ,I I, I r" r" I, I r" r" I r~ ,;_ ,I
'J'~ D-7 G7 Cmaj7 D-7 G7

Il Z Z Z IZ l l Z Il
_ l ,j r" 1-, 2 r; r; ,~ II
C-li C-II C-II C7b 9
IJr ;I _ I
, T IJ r ­
J II
y,
J
rJ
rrIJJ
rJ
, J

fJF-11 F-II F-II F-II

JI -~

r" - , , I - I"r r" ' - -1'' r" ,"

r
I~"
r er r" r" f

C- D C-Il C-II C-II

fJ
11t r:;
-­
r:; r~
I ;2 ,2 r~
I r:; - ,2
-'­2 I ~
.L _ ,
:; ,
2

if

fJD-7~5 D-7~5 G7~9 G7 ~9

I~~ ; r~ I~ r~ r, I;r r~ ,; I~ ___ ,~ ~

rv=
_ r r _ r
- r ­ -
r ,2

fJ C-ll C-lI D-7 ~5 G7~9

L4 t -
I ~ - --
/ 1 -
1/
-,-----
/ _:/ - -- -
rr= _I' / I" 1_ _ _ I II
II

32
33

 Rhythm Changes suggested listening

Are you looking for musical examples of metric modulation?

Virtually every recording of the second great Miles Davis quintet between 1963 and 1968 contains exam­
ples of metric modulation. Here are just a few suggestions:
~ sb6 0-7 C-7 F7 D-7 G7 C-7 F7

~e C~ C ~ C ~ , ~ I C~ c~ r~ ,2 I1,1rc~ c~ ,,~
c
,I ,
r~
e
I I1,1r~ rc~
r I
r; ,,I
r
.1 ,
Miles Davis: Miles Smiles
u
Miles Davis: My Funny Valentine
1. 112.
F-7 sb? E b6 Ab? 1D-7 G7 C-7 F7 C-7 F7 sb6 Miles Davis: Nefertiti
I ~ ~ ~ ~ I ~ ~ ~ ~ I ~ ~ ; ~ I ~ ~ ~ ~ .11 ~ ~ ~ ~ I ~ ~ ~ ~ II
I( ( '= ( I( ( ( ( I( ( ( ( I( ( ( ( ·11 ( ( ( ( I =z:==, ,. ,. II Miles Davis: Four and More
Miles Davis: The Sorcerer
WD7 D7 G7 G7

II r
; ,2 ,2 r~ r; r~ r~ r~ r~ r~ r~ ,I r~ r~ z2 ,.I
Since then, metric modulation has become an integral part of the jazz vocabulary. You can find it on a major­
ity of the recordings released since 1990. Here are some examples:
C7 C7 F7 F7

c~ r~ z... ,..... r~ c~ c~ z... ,2 r~ fI f ... ,..... f" ~ ,.~

r II
Wynton Marsalis:
Standard Time Vol. I

~SP6 0-7 C-7 F7 D-7 G7 C-7 F7 Wynton Marsalis:

Live at Blues Alley

I;r c~ c~ c~ I~
er~ r~ ~
e I~ r~
r r; ,I I~
c c~ c~ ,~ Kenny Werner:
Form and Fantasy
Kenny Werner:
Peace
F-7 sb? E b6 Ab? C-7 F7 Sb6 Kenny Werner:
Beat Degeneration
:; ." :; :; :; :; :; :; :; :; :; ; :; :; :; :; II
1=( , , ( I( ( ( ( I' ( ( ( I( ( ( C --ll Ari Hoenig:
The Painter
Ari Hoenig:
Inversations
John Q'Gallagher:
Axiom
Jochen Rueckert:
Introducing Jochen Rueckert
Ari Hoenig:
Bert's Playground

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35