Playing in Half-Time

Playing In Half-Time
Copyright 2003 Hal Galper. From Forward Motion, From Bach To

Bebop, A Corrective Approach To Jazz Phrasing
The faster you play, the slower you count. Dizzy Gillespie
Forward Motion has global effects upon the mind, body and emotions of
the jazz improviser. One of FMs effects is that playing in Forward Motion
requires you to think faster than usual. I use the word think with
caution, to describe a particular kind of thinking. Mitch Haupers, in his
article The Musician Mind, (Berklee Today, Summer 1994) quoting from
Howard Gardners Creating Minds (Basic Books 1993), makes a clear
distinction between two kinds of thinking; intelligence and creativity.
intelligence and creativity are not the same. Intelligence is measured
in terms of convergent thinking the ability to give the correct answer
on an IQ test while creativity stimulates divergent thinking the
tendency to respond to problems by searching for a wide range of
possible interpretations. It is divergent thinking to which Im referring.
Many of the childhood musical concepts we were taught were
apropos for the time. Learning how to count in quarter-note time and
where thenotes were on the instrument were our first musical challenges.
Learning where one of the bar was, and your basic scales usually
accomplished these goals. In the process, we acquired a tacit
conditioning of howmusic worked that is not apropos for adult musicians.
Unawares, we accepted this conditioning as a truth; that one of the bar
was the first beat of the bar and the root of a scale was its first note. We
were all taught backward.
Quarter-note time is what can be termed a swing beat. It has
a dynamic, propulsive quality that makes it difficult to play by choice
and with control. The operative attitude is that one must be exciting
not excited. Quarter-note time induces tension and creates overexcitement and compulsive 8th note playing, literally reducing
instrumental facility by 50%. 8th notes played with a under-laying
quarter-note feeling have a forced, over-articulated quality. These
difficulties occur for one reason only: quarter-note tempos occur at a rate
of speed too fast to conceive and execute 8th note ideas. Reconditioning
your attitude and conception of playing quarter-note time can eliminate
this effect.
Use of quarter-note time is a hold over from childhood

musical experience. All young music students must develop an internal
clock and learn how to count tempos in steady quarter-notes. This
concept is then mistakenly carried over into adult musical behavior.
Although most childhood behavior becomes modified when reaching
adulthood, somehow we think this is not true of many of our early
musical concepts. Most of us feel our internal tempo clock in one of
four ways: as steady quarter-notes, on 2 & 4 of the bar, on 1 & 3 of the
bar or in a steady stream of syncopated rhythms. Defined as Swing
Beats, quarter-note time and 2 & 4 of the bar are emotionally charged
beats. You snap your fingers on 2 & 4 because those beats swing. They
are often used by players as a crutch for keeping place and imparting a
false feeling of swing to their ideas. Those who count using these beats
have yet to reach rhythmic maturity. Learning to play in half time is adult
rhythmic behavior.
The half-time approach to playing time can be applied to most tempos,
except ballads. By altering your subjective perception of playing quarternote time to playing in half time, youll feel the tempo as being half as
fast. Youll therefore be twice as relaxed, have twice as much time to
conceive ideas and double your technical facility. In effect, you will be
conceiving every tune as a ballad. Its impossible to become
overexcited playing a balled tempo.
Playing in half time synchronizes neatly with FM, allowing the
player more time to think and the option of choice. Half time also
synchronizes the target beats and target tones with the on beats of
one & three of the bar. You can experience the feeling of playing in
half-time by trying the following experiment; tap your foot on beats 1 & 3
of a 4/4 tempo, counting every two beats as one beat of a tempo at half
the speed of the 4/4 tempo and counting over two-bar phrases. You are
then tapping out quarter-notes of a ballad (half time) tempo.
Play the following example of an 8 note, C Major Bebop scale, in
the following manner: Begin by tapping your foot on every quarter-note at
a medium-up, 4/4 tempo. Repeat the scale ascending and
descending without stopping at the top or bottom of the scale.
Example 5
After four or more bars, without stopping, change your foot tapping from
each quarter-note to 1 & 3 of the bar, and continue play the scale. Youll
be tapping your foot on every two beats of the two bar phrase.
Example 6
Switch back and forth a few times. Notice the over-articulated quality of
the scale while tapping quarter notes and how, when tapping on 1 & 3, it
changes to a legato phrasing that is easier to execute. What
has occurred is, by tapping on 1 & 3 you are now playing 8th notes that
were originally in 4/4 as 16th notes in 2/2 and are, in effect, playing a
ballad tempo.
Example 7
Notice that the tempo marking of 90 in Example 7 is half as fast as the

tempo marking 180 in Example 6. The result is that in Example 7
the melody sounds to the listener as 8th notes, but the player is
conceiving them at a different rate of speed as 16th notes.
You may have experienced the feeling of playing in half time
without realizing it. Have you noticed how easy it is to improvise 8th note
ideas while playing a samba or bossa nova? Brazilian music is written
and played in 2/2 and is based on the clave beat which is a two bar
phrase. Have you noticed how easy it is to improvise double-time, 16th
note ideas on a ballad? Thats the half-time feeling at work.
Playing in half time has a particular feeling and quality of sound
that many of the masters have achieved. This effect can be most
clearly recognized when listening to their recordings of up-tempo tunes.
The half time technique is most clearly demonstrated by a stride pianists
left hand. It is the only way to successfully execute the stride. As when
learning anything new, it will take time and practice to get used to
this new and unfamiliar perception of time. Youll have to retrain years of
conditioning of playing in quarter-note time. It will be especially difficult to
resist slipping back into quarter-note time while playing with a drums and
bass who must play with a quarter-note feeling. From time to time, you
may switch back to quarter-note time playing for the sake of rhythmic
variety and add extra propulsiveness to a line.
There are two potential hazards of playing in half time. First, dont
vswitch the time values of the chord changes from 4/4 to half
time, making the tune a virtual ballad. Secondly, avoid the tendency to
play too far behind the beat. Review and relearn your repertoire and play
all your songs with a ballad concept; i.e., a 12 bar blues becomes a six
bar ballad, a 32 bartune becomes a 16 bar ballad, etc. You can also alter
your perception of time by selecting a ballad you know well enough you
that dont have to think about it while playing. After few bars begin
to improvise doubletime 16th note melodies. At the end of 16 bars,
switch to a blues in another key at twice the tempo. Try to retain the
legato, over-the-barline feeling of the 16th notes in the faster quarternote tempo. If you lose the feeling, return to the ballad and start again
until you can make the switch without reverting back to quarter-note time.
From this point on your goal will be to eliminate feeling tempo in quarternote time and 8th note playing from your conception of music. Listen to
music while counting in half time. All practicing of 8th notes lines should
be mentally translated into 16th note lines in half time. Most of us have
been conditioned into believing that jazz improvising should be hard work
and feel that if it becomes easy we are somehow cheating. Improvising
should be fun. It cant be fun if its not easy to do. Being used to working
hard, it will be difficult getting used to playing being easy. When first
learning how to play in half time, students often complain that they dont
feel like theyre doing anything. Thats the way its supposed to feel.

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Playing In Half-Time

Copyright 2003 Hal Galper. From Forward Motion, From Bach To

Use of quarter-note time is a hold over from childhood

Notice that the tempo marking of 90 in Example 7 is half as fast as the

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