Originally posted by RhondaLynne:
LaValse - Much better - Thank you. (it didn't even occur to me to use that fingering!) [/b]

Originally posted by jazzwee:
RhondaLynne, in the lesson#3 I posted, the fingering for 1/7 1/3 is 51 and 32. That's the smoothest.[/b]

Originally posted by jazzwee:
LESSON #3

Progressing from LH 1/7's[/b]

[/b]

Originally posted by DeepElem:
FWIW, my jazz teacher will sometimes tell me a couple of fingering options for something like this and says to try them all and stick with whatever is most comfortable for me. Of course for some things he has a "strongly recommended" fingering, but this isn't one of those cases.

jazzwee, is there something coming up for which fingering the 1/3 as 32 is important ? [/b]

Originally posted by jazzyprof:
OMG,
we're already up to lesson 3?!!! I guess I've been a slacker...still trying to master lesson 1!

I think we're going to need an index to the lessons and the theory discussions. [/b]

Originally posted by mahlzeit:
Heh, only when you try to record do you realize the kind of trouble you're in. [/b]

Swung Note[/b]
In music, a swung note or shuffle note is the rhythmic device in which the duration of the initial note in a pair is augmented and that of the second is diminished. This term for what is known as "notes inégales" has been in use in jazz music and its descentants.

A swing or shuffle rhythm is the rhythm produced by playing repeated pairs of notes in this way. Lilting can refer to swinging, but might also indicate syncopation or other subtle ways of interpreting and shaping musical time.

In some jazz music, especially of the big band era, there is a convention that pairs of written eighth notes are not played equally--as the notation would otherwise be understood--but with the first longer than the second. The first note of each of these pairs is often understood to be twice as long as the second, implying a quarter note-eighth note triplet feel, but in practice the difference is rarely that pronounced (see "amount of swing," below). This is an assumed convention of notation in many styles of jazz, but usually does not apply to jazz before the early 1930s, latin jazz, bebop, or to the work of composers writing in the 1950s or later, unless "swing" is specified in the score.

Notes that are not swung are called straight notes.

Another important aspect of swung eighth notes is to slightly accent the "+" or second eighth note of each pair. In modern jazz where nearly even eighths has become common they still slightly accent every second eighth note of each pair to achieve a hint of swing. Latin musicians play straight eighths and will say they are "swinging" when they slightly accent the second eighth note of every even pair.

In dance, swing or shuffle time or rhythm is music whose meter is that of common time played with a swing. It may be written as simple time and played with a swing, or as compound time and played as written. See transcribing swing rhythms below.

Amount of swing[/b]

People sometimes mistakenly indicate swing rhythms by marking their scores with an indication that pairs of eighth notes should be treated as a quarter and an eighth in a triplet bracket. In actuality, swing rhythms range anywhere from slightly asymmetrical pairs to imbalances of a more pronounced sort (due to the mathematical nature of dividing one beat into 3 equal beats). The subtler end of the range involves treating written pairs of eighth notes as slightly asymmetrical pairs of similar values. On the other end of the spectrum, the "dotted eighth - one sixteenth" rhythm, consists of a long note three times as long as the short. Prevalent "dotted rhythms" such as these in the rhythm section of dance bands in the mid 20th century are more accurately described as a "shuffle"; they are also an important feature of baroque dance and many other styles. Rhythms identified as swung notes most commonly fall somewhere between straight eighths and a quarter-eighth triplet pattern.

The following points of reference are reliable only as approximations of musical practice:

1:1 = eighth note + eighth note, "straight eighths."
3:2 = long eighth + short eighth, "swing" or "shuffle"
2:1 = triplet quarter note + triplet eighth, triple meter; "medium swing" or "medium shuffle"
3:1 = dotted eighth note + sixteenth note; "hard swing", or "hard shuffle"
Since a swung note is actually not a note of the named length (a swung eighth note is not an eighth note), some musicians consider this term a misnomer.

A scientific analysis was done of Bill Evans eighth note swing ratio that revealed that he varied his swing ratio from pair to pair. Also, in general swing ratios tend to get get wider at slower tempos and narrower at faster tempos. Musicians often have different swing ratios and swing ratios can be effected by who you are playing with (drummers cymbal)... etc