Tom Lippincott

64 Modern Jazz Guitar 4

Rhythm part 1
1. Eighth notes

Example 1: creating groups of three notes by intervalic patterns

              
       

Example 1a: ex. 1 applied to ex. 5 of Melody section

          
    
        
 

3 5 7 8 10 12 13 15 15


3 5 6 8 10 12 13 15
5 7 9 10 12 14 16 17

Example 1b: ex. 1 applied to ex. 20 of Melody section

  
  
  


 
       

    

10 12


10 8 10 12
9 7 5 7 9 7
9 7 5 7 5 10
7 5 3 8
5 7 7

Example 2: creating groups of five notes by intervalic patterns

          
      

 Tom Lippincott
65

Examples from Melody section that contain five-note patterns:

Examples 24A, 34 - 38, 48B, 56, and 57

Example 3: preperatory exercise for playing five-note groupings

                  
    
 


7 7 9 7 9 10
7 7 9 7 9 10 7 9 10 7 9 10 9 10 10
7 8 10 7 8 10 7 8 10 8 10 10
8 10 10

Example 4: pentatonic pattern using five-note groupings

      
 

             
  

5 8


5 8 5 8
5 7 5 7 7
5 7 5 7 7
5 7 5 7 7
5 8 8

           
      
  
      

8 5 5


8 8 5 8 5 5
7 5 7 5 5
7 5 7 5 5
7 5 7 5 5
8 5 8

Example 5: creating groups of seven notes by intervalic patterns

                 
     
  

     
 
 Tom Lippincott
66
Examples from Melody section that contain seven-note patterns:
Examples 26, 39, and 58

Example 6: up and down neck fingering for example 5 pattern

       
     
   
     
 

1 3 5 7 3 5 7 8 5 7 8 10 7 8 10 12 8 10 12 13 15 13 12


1 3 5 3 5 6 5 6 8 6 8 10 8 10 12 15 13

 
                        
  


13 12 10 12 10 8 10 8 7 8 7 5 7 5 3 5 3 1


12 10 13 12 10 8 12 10 8 6 10 8 6 5 8 6 5 3 6 5 3 1 5 3 1 0 1

Example 7: implying groupings of five by using accents on groupings of four notes (diatonic 7th arpeggios)

              
         
        
     

7 8 7 10


8 10 8 10 8
7 9 7 10 9 7 10 9 7 10 9
9 7 10 9 7 10 9 7 10 9 10
7 10 8 7 10 8 10
8 10


             
             
   

 
 
   
       
   
10 7 8 7


8 5 10 6 8 10 8
7 9 10 7 9 10 7 9 7
10 9 10 7 9 10 7 9 10 7 9 7
10 8 10 7 8 10 7 8
10 8 10 7 8
 Tom Lippincott

67

Example 8: implying groupings of seven by using accents on groupings of four notes

   
           
    
   
            
      

7 8 7 10


8 10 8 10 8
7 9 7 10 9 7 10 9 7 10 9
9 7 10 9 7 10 9 7 10 9 10
7 10 8 7 10 8 10
8 10

         
                         
         
       
 

10 7 8 7


8 5 10 6 8 10 8
7 9 10 7 9 10 7 9 7
10 9 10 7 9 10 7 9 10 7 9 7
10 8 10 7 8 10 7 8
10 8 10 7 8

              
Example 9: Implying groupings of five on a three-note pattern (sus triads)
       


     

1 1 3 3 5 7 8 8 10 10 12


1 3 5 6 8 10 12
4 5 7 9 10 12 14

Example 10: Implying groupings of seven on a five-note pattern (four-part-4ths) over a II V I VI progression
(uses pattern from ex. 38c of Melody section)

D-7 G7 /two extra

C^ 0 A7 D-7
            
beats
   
      
        

7 6 6 5 3 6


6 6 5 3 2 3
9 8 7 5
9 10 9 8 7 9 5 7 7
 Tom Lippincott
68
2. Eighth note triplets

Example 11: (play all rhythms both short and long)

All 3 first triplet (downbeats) 3rd triplet (swing upbeats) 2nd triplet
                                        3   3  3  3  3  3 3 3
            
3 3 3 3 3 3 3 3
Practice comping (simple voicings at first) using each part of the triplet:

1st: quarter notes

3rd: swing upbeats (start with short notes then make them sustained)
2nd: start short, then sustain

Then practice switching back and forth

Also practice same exercise with improvised single notes

Example 12: comping with shell voicings on different partials of the eighth-note triplet ("All the Things")

F-7 Bb-7 Eb7 Ab^

6fr 6fr 5fr 4fr

        
Etc.
        3
   3 3 3

                   
            
   
first third triplet second first
triplet (anticipated) triplet triplet


8 8 8 8 6 6 6 6 6 6 6 6 6 6 6 6 6 5 5 5 5
6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 5 5 5 5 5 5
8 8 8 8 6 6 6 6 6 6 6
6 6 6 6 6 6 4 4 4 4

Example 13: four-note four-part-4th pattern played with eighth-note triplets (uses Ex. 9 from Melody section)


       
       
3
      
     
3 3 3 3 3 3 3
3

1 3 5 7 8 10 12


1 3 5 6 8 10 12
4 5 7 9 10 12 14
5 7 9 10 12 14 15
 Tom Lippincott
69
Example 13a: four-note pattern played with eighth-note triplets, displaced

  3               
        
      
3 3 3 3 3 3 3 3 3

1 3 5 7 8 10 12 12


1 3 5 6 8 10 12
4 5 7 9 10 12 14
5 7 9 10 12 14 15

Example 13b: four-note pattern implying groupings of five by doubling the length of the first note of each group

   
  3
    
        
         
3 3 33 3 3 3 3 3 3 3

1 3 5 7 8 10 12 12


1 3 5 6 8 10 12
4 5 7 9 10 12 14
5 7 7 9 10 12 12 14 15

Example 14: five-note four-part-4th pattern played with eighth-note triplets (uses Ex. 38c from Melody section)

     
3
     
      
       
3 3 3 3 3 3 3 3 3 3
3

1 3 5 7 8 10 12 12


1 3 5 6 8 10 12
4 5 7 9 10 12 14
3 5 5 7 7 9 9 10 10 12 12 14 14 15

Example 14a: mixing four-note and five-note patterns for displacement effect

five-note patterns

  
3        
  
       
    
3 3 3 3 3 3 3 3
3
four-note patterns
1 3 5 7 8 10 12


1 3 5 6 8 10 12
4 5 7 9 10 12 14
5 7 7 9 10 12 12 14 14 15
 Tom Lippincott
70
Example 15: combinations of two eighth-note triplets

second and third

First and second (displaced swing 8ths)
First and third (swing 8ths) (reverse swing)
          3  3  3   3 
              
3 3 3 3 3 3 3 3

practice each grouping playing scales and patterns and improvising

Example 15a: cycling through the three different combinations with suspended triads
 
                            
3
                             
      
  
3 3 3 3 3 3
    
3 3 3 3 3 3 3 3 3


3 3 5 5 6 6 8 8 10 10 12 12 13 13 15 15 17 17 17 15 15 15 13 13 13 12 12 10 10 8 8 6 6 5 5 3
2 2 4 4 5 5 7 7 9 9 10 10 12 12 14 14 16 16 16 14 14 14 12 12 12 10 10 9 9 7 7 5 5 4 4 2
2 2 3 3 5 5 7 7 9 9 10 10 12 12 14 14 15 15 15 14 14 14 12 12 12 10 10 9 9 7 7 5 5 3 3 2

Larger groupings of three (dotted quarter and dotted eighth notes) with chords

Example 16: dotted half notes implying 3/4 time, A section to "All the Things"

Bb-7sus Db^ Ab^sus Ab^ F-^ Ab/Db

8fr 9fr 4fr 3fr 6fr 8fr

     
    
chord
    
  
   
  
 
   
 
scale A¨ major F melmin
basic harmony
F-7 B¨-7 E¨7 A¨^
9 9 4 4 3 8 9


9 9
8 10
8 10
8
9 4 4 4 6 9
10 6 6 6 9 8
10 5 5 6 6 10
 Tom Lippincott
71
C^sus G/C C/D G/C G/C Bb/Eb
10fr 5fr 7fr 3fr 7fr 6fr

      


     
    
   

     

A¨ major C major
D¨^ D-7 G7 C^ C-7
9 7 7 8 8 10


9 12 12 8 8 3 3 8 8 6
8 10 10 4 7 5 5 7 7 8
10 10 10 10 10 5 5 9 9 8
10 10 5 7

Example 17: dotted eighth notes implying 3/8 time, second A section to "All the Things"

C-7sus G-7sus F-7sus Bb-7sus Ab^sus#4 Eb^ C#-7sus G#Øsus

10fr 10fr 8fr 8fr 6fr 6fr 4fr 6fr

     
      
  
chord

  
  
 
       
  
   
         
     

scale E¨ major B melmin
basic harmony C-7 F-7 B¨7
13 11 10 9


11 13 13 11 11 9 8 9 9 8 8 7
12 10 10 8 8 10 8 7 7 6 6 8
10 12 12 10 10 8 6 8 8 7 7 5
10 10 8 8 6 6 6 6

G-7sus D-7 C-7sus F-7sus Ab^sus#4 Ab7sus#4 Gb+^sus#4 F-7sus

5fr 5fr 3fr 3fr 6fr 9fr 7fr 6fr

   
           
 

 
      
   
   

       

    
E¨lydian E¨ major E¨ mel min
E¨^ A¨^ A-7 D7
8 6 10 11 11 10 10 8


6 8 8 6 6 4 8 9 9 7 7 6
7 5 5 3 3 5 8 11 11 10 10 8
5 7 7 5 5 3 6 12 12 10 10 8
5 5 3 3
 Tom Lippincott
72
E-7sus A7sus F#-7sus B-7sus D^sus
5fr 5fr 7fr 7fr 10fr

    

 
    

      
   

Glydian
G^
7 5 5 9 9 7 10


5 5 5 7 7 7 10
7 7 7 9 9 9 12
7 5 5 9 9 7 11

Example 18: Quarter-note triplets

Accent every other triplet Leave out unaccented notes written as:
                        3 3
            
3 3 3 3 3 3 3 3

displaced Quarter-note triplets

             3      3      3              
Accent every other triplet,
starting with 2nd triplet Leave out unaccented notes written as:
etc.
      
3 3 3 3 3 3 3 3 3
Think of as quarter-note triplets
starting on beat 2
OR starting on the "and" of 4

Practice comping and soloing using triplets and displaced triplets

practice switching back and forth between the two

Example 18a: shifting between Quarter-note triplets and displaced quarter-note triplets with single note pattern (sus triads)

                       

 
3 3 3 3 3 3 3 3
quarter-note triplets displaced quarter-note triplets

 
 
 
1 3 5 7 8 7 5 3

  
1 3 5 6 8 8 6 5 5 3
4 5 7 9 10 10 9 7 7 5
 Tom Lippincott
73
Example 18b: shifting between Quarter-note triplets and displaced quarter-note triplets with chords (four-part-4ths)

G7sus A-7“ BØsus C^ D-7“ E-7sus F^sus#4

3fr 5fr 7fr 9fr 10fr


       
 
3
      
 
 
       
3 3 3




1 3 5 3 5 7 5 7 8 7 8 10 12

 
1 3 5 3 5 6 5 6 8 6 8 10 12
0 2 4 2 4 5 4 5 7 5 7 9 10
0 2 3 2 3 5 3 5 7 5 7 9 10


  
            
        

       
3 3 3 3




12 10 10 8 10 8 7 8 8 7 7 5 7 5 3

 
12 10 10 8 10 8 6 8 8 6 6 5 6 5 3
10 9 9 7 9 7 5 7 7 5 5 4 5 4 2
10 9 9 7 9 7 5 7 7 5 5 3 5 3 2

Example 19: quarter-note triplets grouped in fours for polyrhythmic effect over II V I progression
(notice articulations help reinforce the polyrhythmic effect)

Eb7sus4 Db^sus#4 C-7sus Bb-7sus D#Øsus4 C#-7sus B7sus4 A^sus#4

13fr 11fr 10fr 8fr 12fr 11fr 9fr 7fr

          

     
     
       

 

    
     


3 3 3 3
A¨ major E melodic minor
B¨-7 E¨7 A¨^


14 13 11 9 14 13 11 9 14 12 10 9 8
13 12 10 8 13 12 10 8 13 11 9 8 8
13 11 10 8 13 11 10 8 13 11 9 7 8
13 11 10 8 13 11 10 8 12 11 9 7 8
 Tom Lippincott

74
Example 20: Half-Note triplets

Accent every 4th triplet

(1st of beat 1, 2nd of beat written as:
2, 3rd of beat 3) Leave out unaccented notes
             3
  3  3  
         
3 3 3 3 3 3

Half-Note triplets can be displaced 3 times:

starting on 2nd and 3rd triplets of beat 1
and downbeat of beat 2.

non-displaced (as above) 2nd triplet of 1 3rd triplet of 1 downbeat of beat 2

   3
  
3  3
                                 3 
3 3 3 3  3  3 3 3
            
3 3 3 3
Note that, in each case, there is
one of each (1st, 2nd, and 3rd triplets)

Example 20a: shifting between regular half-note triplets, the three displacements,
and quarter notes, using chords (four-part-4ths)

D-7“ E-7sus F^sus#4 G7sus4

7fr 9fr 10fr 12fr

non-displaced 2nd triplet of 1

      
   
      
  

          
              
     
3 3 3 3 3 3 3 3




8 10 12 13 8 10 12 8 10 12 13 8 10 12

 
8 10 12 13 8 10 12 8 10 12 13 8 10 12
7 9 10 12 7 9 10 7 9 10 12 7 9 10
7 9 10 12 7 9 10 7 9 10 12 7 9 10

3rd triplet of 1 downbeat of beat 2

      
  
      
            
          
            
        
3 3 3 3 3 3 3
3




8 10 12 13 8 10 12 8 10 12 13 8 10 12

 
8 10 12 13 8 10 12 8 10 12 13 8 10 12
7 9 10 12 7 9 10 7 9 10 12 7 9 10
7 9 10 12 7 9 10 7 9 10 12 7 9 10
 Tom Lippincott

75
Example 21: "clave" for 5/4 and 7/4 time

                     
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 6 7 1 2 3 4 5 6 7
 

Example 22: ways to break out of the "clave prison" in 5/4

Ex. 22a Ex. 22b Ex. 22c

             
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

   

4 3 4 3
4 dotted eighths take up can also be thought of play last two beats as
3 beats of space as a 4:3 tuplet three quarter-note triplets

Ex. 22d halfway Ex. 22e

   
point 1 2 3 & 4 5 1 2 3 & 4 5

 
two over five broken down into four equal groups of five 16th notes
polyrhythm
Ex. 22f Ex. 22g

   

     
&

    
1 2 3 & 4 5 1 2 3 4 5

      
4:5 polyrhythm 4:5 polyrhythm
against quarter notes
Ex. 22h Ex. 22i

        
                          
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

five half notes filling two bars five dotted half notes filling three bars

Ex. 22j

  

 

 
 

          
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

           
ten dotted eighth notes filling three bars

Ex. 22k Ex. 22l Ex. 22m

                                  
1 2345 1 234 5 1 2 3 45 1 23 45 1 23 45

anticipate beat one anticipate beat 4 quarter note anticipation

(implies 5/8) of beat one
 Tom Lippincott

76

Ex. 22n Ex. 22o

3 3 3 3 3
 3
                       
3

   
3:5 polyrhythm against quarter notes 3:5 polyrhythm written against quarter notes
15 eighth-note triplets in groups of five