{"id":6487,"date":"2015-03-01T12:08:37","date_gmt":"2015-03-01T20:08:37","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6487"},"modified":"2015-03-01T12:08:37","modified_gmt":"2015-03-01T20:08:37","slug":"weekend-extra-that-swinging-eighth-note-illustrated","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/03\/weekend-extra-that-swinging-eighth-note-illustrated\/","title":{"rendered":"Weekend Extra: That Swinging Eighth Note Illustrated"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;20nD2eqoinXmHzHNIPt7gyVhsESVaBtL&#8221;]<\/p>\n<p>In answer to a <em>Rifftides<\/em> reader\u00e2\u20ac\u2122s request, pianist Alan Broadbent expanded here last month on<a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/03\/Swinging-8th-Note-illustrated.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/03\/Swinging-8th-Note-illustrated.jpg\" alt=\"Swinging 8th Note illustrated\" width=\"200\" height=\"170\" class=\"alignright size-full wp-image-6489\" \/><\/a> a concept that he mentioned in an earlier comment. The reader wanted to know what Broadbent (pictured below, left) meant by, \u00e2\u20ac\u0153a swinging eighth note.\u00e2\u20ac\u009d Here is part of his answer. <\/p>\n<blockquote><p>The pushing and pulling of a musical phrase over a steady beat by a soloist, the tension <a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/03\/Alan-Broadbent-right-profile.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/03\/Alan-Broadbent-right-profile.jpg\" alt=\"Georgia Mancio &amp; Alan Broadbent perform at the Pheasantry - 24\/11\/13\" width=\"121\" height=\"185\" class=\"alignleft size-full wp-image-6488\" \/><\/a>and release of a phrase, is what creates a profound feeling of swing. This is not what singers call \u00e2\u20ac\u0153back phrasing\u00e2\u20ac\u009d, which is a forced and conscious affect to try and produce the same thing. This is actually an engagement between the soloist\u00e2\u20ac\u2122s inner feeling for the time and the time itself. Unlike classical, fusion and pop music, which is just the beat, the jazz musician\/soloist is creating a magnetic force between his \u00e2\u20ac\u0153pole\u00e2\u20ac\u009d and the beat\u00e2\u20ac\u2122s \u00e2\u20ac\u0153pole.\u00e2\u20ac\u009d Lennie Tristano believed this to be a \u00e2\u20ac\u0153life force\u00e2\u20ac\u009d inherent in human existence. His axiom was, \u00e2\u20ac\u0153Jazz is not a style, it is a feeling.\u00e2\u20ac\u009d<\/p><\/blockquote>\n<p>For demonstrations by six musicians of Tristano\u00e2\u20ac\u2122s generation, we turn to alto saxophonist Sonny Stitt, trombonist J.J. Johnson, trumpeter Howard McGhee, pianist Walter Bishop Jr., bassist Tommy Potter and drummer Kenny Clarke. Filmed in Germany in 1965, they play Charlie Parker\u00e2\u20ac\u2122s \u00e2\u20ac\u0153My Little Suede Shoes,\u00e2\u20ac\u009d <\/p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/l1RNm0e4dJg?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p><p>To see all of Alan Broadbent\u00e2\u20ac\u2122s guest essay, which includes video of young Louis Armstrong swinging eighth notes, <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2015\/02\/correspondence-broadbent-on-the-swinging-8th-note.html\"target=\"_blank\">go here<\/a>.<\/p>\n<p><p> Have a good weekend. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;20nD2eqoinXmHzHNIPt7gyVhsESVaBtL&#8221;] In answer to a Rifftides reader\u00e2\u20ac\u2122s request, pianist Alan Broadbent expanded here last month on a concept that he mentioned in an earlier comment. The reader wanted to know what Broadbent (pictured below, left) meant by, \u00e2\u20ac\u0153a swinging eighth note.\u00e2\u20ac\u009d Here is part of his answer. The pushing and pulling of a musical [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6489,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-6487","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6487","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6487"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6487\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/6489"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6487"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6487"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6487"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}