What is Syncopation?

What is Syncopation?

As a jazz fan, you obviously love listening to the notes flowing out from the bell of a saxophone, but can you actually visualize those notes, on a staff? Are you able to see the music as well as hear it?

Trust us, learning a bit about musical composition won’t ruin the magic of jazz—far from it, it’ll only enhance it. Because when you gain a deeper understanding of all the intricacies, you’ll develop an even stronger appreciation for the enchanting nature of jazz music!

So, in that spirit, we’re continuing our blog series on the basics of musical theory and composition. If you’re curious to learn more, check out our posts about melody, harmony, and polyphony.

Today, we’re going to be learning about syncopation. But first, before we talk about that, let’s quickly run through the concepts of rhythm and beat. As you might already know, every piece of music has an internal natural flow, like a pulse or the ticking of a clock, that repeats until the end. This pulse is called the rhythm, which is organized into beats per measure.

Syncopation is a rhythmic structure that avoids the natural flow, or beats, of a piece. And how does syncopation avoid the beats, you may be wondering. Well, it’s actually quite simple—the notes are displaced so that they don’t fall precisely on the beats of the time signature. Instead, the notes can be played in anticipation—earlier than you’d expect—right before the marked beats, or they can be delayed and played after each beat of the pulse.

Believe it or not, in some melodies, every single note is syncopated—meaning that every note falls before or after the beat! And in jazz, this is a very popular technique. Most jazz musicians prefer to accentuate the upbeats. So, if you’re tapping your foot along to the music, the notes that are played when your foot is in the air are the ones that are emphasized.

Now this all may sound very complicated, but to the jazz musician, it actually comes quite naturally—eventually, master musicians do it intuitively, just like how you fluctuate your voice while speaking.

Syncopating notes gives the musician freedom to express their own interpretations of the beat. And to be honest, if there was no syncopation, jazz simply wouldn’t be jazz—it wouldn’t sound right—because most jazz compositions incorporate a mixture of syncopated and non-syncopated notes.

Many well-known songs from “Hey Diddle Diddle” to “Orinoco Flow (Sail Away)” include syncopated notes.

Can you spot any syncopation in this 2022 jazz rendition of “Can’t Buy Me Love” from the WJ3 All-Stars?

“Can’t Buy Me Love” comes from the album My Ship, which is available in our store and on all major music platforms today.

This post was written by Digital Marketing Manager, Jacqueline Knirnschild.

What is polyphony?

What is polyphony?

Get your notebooks out and your pencils sharpened, because today we are continuing our lesson in musical theory! If you haven’t already, please read our post about the differences between the melody and harmony.

So, last time we talked about how the melody is a sequence of notes that sound pleasing, while the harmony refers to a blending of notes. Before we go any further today, I’d like to also mention that the harmony can also informally refer to any parts of the composition that accompany the main melody. Remember, the melody is the backbone and leader of the piece, while the harmony refers to the vertical relationship between different pitches. The harmony creates chord progressions that complement the melody.

Now that we’ve refreshed ourselves on those basics, let’s take a look at a slightly more complex musical term—polyphony.

In Greek, ‘poly’ means many and ‘phony’ means voice, which contrasts with monophony, meaning one voice. As the etymology indicates, polyphony refers to music in which more than one entity—voice or instrument—plays melodic lines at the same time. This differs from harmony in the way that harmony is usually dependent on the main melody, whereas polyphonic music has each entity playing their own independent melodic lines.

However, things get tricky, because even though in polyphony, each “voice” is independent to a certain extent, these melodic lines are still connected by the overall harmonic framework. A polyphonic musical texture, therefore, still has harmony. The harmonic framework—meaning the blending of pitches to make chords—is what makes the music sound good! If a song didn’t have harmony, it would merely sound like an unpleasant cacophony of sounds. And, in case you didn’t know, ‘caco’ in Greek means bad.

Technically speaking, any music that consists of multiple “voices” is polyphonic, which would be most music. But in the Western music tradition, polyphony often refers to a particular technique called contrapuntal, or counterpoint. With this technique, there is no foreground or background lines, as with most pop songs today, but rather involves a mutual conversation between the lines. With counterpoint, the notes in each independent melodic line also coincide to create chords. Bach was a composer who loved writing in the intellectually stimulating counterpoint technique.

But chances are that if you’re reading this post, it’s because you love jazz music, so you may be wondering, what exactly does this have to do with jazz?

Well, polyphony was used in the traditional jazz that developed in New Orleans at the turn of the 20th century. In these early jazz compositions, the trumpet often played the melody, while the clarinet and trombone improvised semi-independent lines that were counterpoint in nature. And in bebop jazz—originating in the 1940s—the bass played a consistent countermelody of quarter notes that produced a polyphony with whatever other musical texture was played on top.

After that lesson in music theory, you deserve to sit back, relax, and let the polyphony of this 1993 jazz tune wash over you. Listen to the independent melodies of the bass trombone and bari sax in Mingus Big Band’s “Moanin’!”

Now that you understand musical theory better, why don’t you take a listen to the sample tracks from our newest album, My Ship, and see if you can identify the melody, harmony and chord progressions! Or just simply try to identify the different instruments that are playing simultaneously.

This post was written by Blog Editor, Jacqueline Knirnschild.

What is a ballad? What are the best jazz ballads?

Nowadays, people seem to use the term ‘ballad’ to refer to a slow, maybe sentimental, and romantic, song with beautiful lyrics. But did you know, technically, that’s not what a ballad is?

A ballad is a poem or song that narrates a story in short stanzas, usually set to music. Ballads were originally written to accompany dances, amd their name was derived from the Scottish word ‘ballares’ meaning “to dance.” Traditionally, dancers sang the alternating refrains of the song in time with the dance. 

Usually, ballads consist of 13 lines with an ABABBCBC rhyming form, but there’s also many variations on that pattern. Only in the later 19th century did the term begin to be used to describe a slower form a popular love song. 

So, now that you know what a ballad is, let’s look at some of the best ballads of all time! 

Billy Strayhorn – Lush Life

This 1933 ballad tells the story of a person who used to frequent the best places in town and relax on the “axis of the wheel of life,” that is, until he fell deeply in love and, later, became heartbroken. Now, the narrator is reflecting on that failed romance and the wearisome nightlife he used to indulge in. “Only last year everything seemed so sure,” Strayhorn sings. “Now life is awful again.”

A fun fact about this ballad is that Strayhorn was only a teenager when he began composing this classic! Talk about young talent! 

Elsie Carlisle – Body and Soul

Written in 1930 for the British actress and singer Gertrude Lawrence, who performed it first in London, this standard has become the most recorded ballad in jazz history, with over 2,200 existing versions! 

With its poignant and relatable lyrics about a person who wants to make sure she won’t be devastated after opening her heart to a new lover, it’s no wonder that this ballad became so remarkably popular. The narrator wonders if she will “stand alone at the shore.” She’s got to know—“oh, body and soul”—that her new beloved has no doubt “inside and out.”

John Coltrane – Naima

Inspired by his wife, Juanita Naima Grubbs, Coltrane composed this ballad in 1959, which has since become a jazz standard. “Queen of the ages,” Coltrane sings. “She transcends history’s pages.” 

The story of true love, and the utter awe that comes with it, never does seem to get old, does it? We always seem to find new ways to express our emotions to the ones we love, especially in the form of musical ballads.  

Always On My Mind – Janis Siegel & John Di Martino 

Recorded by everyone from Elvis to Loretta Lynn, and, of course, Willie Nelson, this iconic song, first released in 1972, tells the story of a remorseful narrator who is looking back and wishing that she would’ve told her beloved just how much she cared. In this new 2021 version, the classic is reimagined as a jazz ballad, which serves to highlight the bittersweet theme of regret. 

If you’re looking for more ballads, and modern jazz renditions of country favorites, check out our album Cryin’ In My Whiskey, which is available in our store and on all major music platforms today! 

This post was written by Blog Editor, Jacqueline Knirnschild.