(this post has not been written completely yet)
Swing jazz was initiated by the swing dancing so the rhythmic rather fast (usually 4 times faster than the beat of the heart).
A remarkable example of such improvisations is with the Stephan Grappelli on the violin.
In this Jazz is included also the Gypsy jazz which relative to the rest of the Swing jazz has a percentage of minor chords significant larger than the percentage of major chords.
There are mainly 4 reasons why improvisation in Swing Jazz is easier
1) The rhythm is fast enough so that , in the improvisation we may have one note per beat, thus the beat is leading the improvisation.
3) The chords are larger in number per number of melodic notes compared to other folk music , and follow a close harmonic contingency transition progression, therefore, it is easier to find improvisation melodies to fit such chord progressions, as most of the motions is already determined by the chord progression. About half of each melodic theme is within one chord (3-4 different notes per 3-notes chord or 4-5 different notes per 4-notes chord) .
4) Because is was essentially dancing music, the melodic and harmonic meaning and pattern of repetitions of the music should be simple enough for the dancer to follow. But this makes also easy for the improviser to create melodic movements too.
Swing jazz was initiated by the swing dancing so the rhythmic rather fast (usually 4 times faster than the beat of the heart).
A remarkable example of such improvisations is with the Stephan Grappelli on the violin.
In this Jazz is included also the Gypsy jazz which relative to the rest of the Swing jazz has a percentage of minor chords significant larger than the percentage of major chords.
There are mainly 4 reasons why improvisation in Swing Jazz is easier
1) The rhythm is fast enough so that , in the improvisation we may have one note per beat, thus the beat is leading the improvisation.
2) As swing is dancing we may imagine the improvisation over notes as dancing steps, that repeat notes more when they are notes of the underlying chord therefore the improvisation fits with the chords easier. The steps are usually intervals of 2nd (one or 2 semitones) and not larger as in Irish or Latin folk music. A rule is that the transient notes to the chords are 1 or 2 semitones away from notes of the chord and always between lowest and highest note of the chord (either 3-notes or 4 notes chord) . If about equal time per note will guarantee that as the notes of the chord are more compared to the transient notes, they also sound more time time. Another general rule is that : "The improvisation is done mainly by using in variable order tones and semitones only , as "continuous" moving inside the 12-note chromatic scale till it finds the note that sounds as desired , then stays longer on that and so on". In other words the melodic triplets used are statistically mostly 2-1, 1-2, and more rarely 2-2, 1-1. Some people conceive its as if using the diminished scale all the time : 2-1-2-1-2-1-2-1 . Completely chromatic long moves by semitones is avoided but also is avoided moving with intervals larger than 2nds. These two rules are quite easy for an intuitive improvisation on any scale and chord progression.
3) The chords are larger in number per number of melodic notes compared to other folk music , and follow a close harmonic contingency transition progression, therefore, it is easier to find improvisation melodies to fit such chord progressions, as most of the motions is already determined by the chord progression. About half of each melodic theme is within one chord (3-4 different notes per 3-notes chord or 4-5 different notes per 4-notes chord) .
4) Because is was essentially dancing music, the melodic and harmonic meaning and pattern of repetitions of the music should be simple enough for the dancer to follow. But this makes also easy for the improviser to create melodic movements too.
