Vamps and intros

Music Lesson: Introduction to Swing Feel and Chord Variations

In this lesson, we're going to take a look at a really common intro. It's very similar to the 1625 turnaround that we examined before, but instead of being played as a turnaround, it will be played at the front of the tune.

Example in the Key of F

So, here's an example in the key of F.

• Second Chord: F sharp diminished
  • We're using that in place of the sixth chord.
  • Remember, it was D7 → F, D, G, C.

There's a connection between those two chords because F sharp diminished seventh is actually the top part of D7 B9. However, we're not putting D in the bass; we're putting F sharp in the bass. This gives us a chromatic ascending bass line.

Straight Feel vs. Swing Feel

Now, if I play it in that rhythm, there's no swing. There's nothing you can swing because everything's on the beat. So, we're going to explore a number of different ways of varying that and making it a little bit less stiff and on the beat.

Comparing Feels

• Straight Eighths:

  • Here's the first four notes of the scale played in straight eights as written.

• Swing Feel:

  • If I play the same thing in the swing feel, it should sound like this.

Let's try alternating those with the metronome at 100 beats a minute:

• Patterns: Straight → Swing → Straight

It's important to get those at the same tempo so you can hear the difference.

Applying Swing Rhythms

Now we're going to apply these swing rhythms to the right-hand chords. We'll still keep the two feel bass line to maintain the metronome.

Chord Variations

This time, I'm going to:

• Play the second and fourth chords half a beat early.
• This will introduce a swing element.

Counting: 1, 2, 3, 4.

So I've pushed those two chords. They're now coming in on the three.

The Opposite Exercise

In both bars, let's try the opposite. Now we'll push the first chord and leave the F sharp diminished and the C chord on the fourth beat. That's going to sound like this:

Practice: Play those two examples carefully with a foot tap or metronome and check that you haven't moved the on-the-beat chords. We've just taken two out of the four chords in both cases and played them a bit earlier, or anticipated them, you could say.

Full Anticipation of Chords

Now let's try anticipating all the chords. This is a really common effect that gives you a much more pushy groove.

Feeling: 1, 2, 3, 4.

Combining Rhythms

Now try perhaps combining these two rhythms. You don't have to do the same thing in both bars.

• We could push the F chord and the C chord (the first and last chords).

This is now creating an off, on, on, off pattern.

Counting: 2, 3, 4.

When you've mastered these patterns, you'll find that it gives your comping a much more organic sound.

We're going to apply this in a 128 feel in the next lesson.