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What makes that song swing? At last, physicists2 unravel3 a jazz mystery
For nearly a century, jazz musicians and scholars have debated the answer to a musical mystery. As legendary5 jazz trumpeter Louis Armstrong once put it, "What is this thing called swing?"
Swing has long been considered an essential component6 of almost all types of jazz, from traditional to bepop to post-bop. As Ella Fitzgerald and many others have sung, "It don't mean a thing if it ain't got that swing." You might describe swing as a rhythmic7 phenomenon in jazz performances — a propulsive8, groovy feeling that makes you want to move with the music.
Still, a precise definition of swing has long eluded9 musicians and scholars alike. As the Big Band era jazz trumpeter Cootie Williams once reportedly joked about swing, "Describe it? I'd rather tackle Einstein's theory."
That elusive10 swing feel in performances
Ask a jazz musician what swing is, and you're likely to get the same answer Christian11 McBride gave me.
"Swing is a feel," says McBride, a multi-Grammy-winning jazz bassist, music educator and host of NPR's Jazz Night in America. "There's a certain language. There's a certain inflection of rhythm."
There's one defining component of swing that's easy to hear, and it has to do with how eighth notes are played. Instead of playing them straight, like this ...
McBride vocally12 demonstrates a straight eighth note
... in jazz these notes are swung, meaning the downbeats — or every other eighth note — is played just a little longer, while the offbeat13 notes in between are shortened, creating a galloping14 rhythm, like this.
McBride vocally demonstrates a swung eighth note
But jazz musicians know that technique alone can't explain swing — after all, even a computer can swing a note.
"A computer just ain't — excuse my language – it just ain't going to swing that hard, you know?" McBride says. "You still don't get the real proper swing feel, which is a human feel."
That swing feel happens as musicians interact in performance, McBride explains. "For me, I think you've got to lock people in and say, 'OK, here's where the time is, here's what the rhythm is.' And then everybody, collectively — the musicians and the listeners — can go, 'Oh, yeah ... that feels right.'"
But how exactly are musicians playing off each other to create that swing feel? That's what Theo Geisel wanted to find out.
The physics of swing
Geisel is a theoretical physicist1 with the Max Planck Institute for Dynamics15 and Self-Organization and the University of G?ttingen in Germany. He spent decades studying the physics of synchronization16 — for example, how the billions of neurons in your brain coordinate17 with each other. He's also a passionate18 amateur saxophonist. He even has a band with other physicists. (They play at conferences.)
Geisel is now retired19. That's given him more time to use his theoretical physics toolkit to explore other mysteries of the universe, including this one: How do musicians synchronize20 when they try to create swing in jazz?
"It's a general belief that musicians should synchronize as best they can when they play together. This is true, of course, to some extent," says Geisel.
But since the 1980s, some scientists and music scholars have claimed that the swing feel is actually created by tiny timing21 deviations22 between different musicians playing different types of instruments. To test this theory, Geisel and his colleagues took jazz recordings24 and used a computer to manipulate the timing of the soloist25 with respect to the rhythm section.
"We had experts — professional and semi-professional jazz musicians — rate how swinging these different versions of a tune26 were," he explains.
The song they manipulated was a recording23 of "Jordu," a jazz standard written by Duke Jordan. In one version, for example, the piano soloist started at the exact same time as the rhythm section. In another version, the soloist's downbeats started just the tiniest bit behind the rhythm section, but their offbeats were not delayed.
Here's what those two versions sound like:
Original recording of 'Jordu'
'Jordu' with a downbeat delay
Didn't hear a difference between the clips? It's OK. Geisel says most people probably won't. After all, the timing delays we're talking about are miniscule — just 30 milliseconds, or a fraction of the time it takes to blink an eye.
Even so, the jazz musicians who rated the clips picked up on it.
"They noticed a difference and they could feel the difference," Geisel says. "They told us that they could hear friction27 between the rhythm section and the soloist, but they were amazed that they could not identify what was going on exactly. "
Geisel says the expert musicians were nearly 7.5 times more likely to rate the version with the downbeat delays as having more of a satisfying swing feel.
In another part of the experiment, the researchers also analyzed28 a database with over 450 recordings of jazz soloists29, including performances by the likes of Dizzy Gillespie, Joshua Redman and Charlie Parker. They found that almost all of them were using tiny downbeat delays relative to the rhythm section. "There were very few exceptions," Geisel says.
He says these tiny timing delays aren't random30. They're systematic31, though musicians are probably just doing it intuitively.
So have scientists finally cracked the cipher32 of swing?
As for jazz musicians seeking the secret to swing, McBride's advice is: Study the greats.
"There's the spiritual answer and then there's the scientific answer," McBride says. "You've just got to listen to people who did it well. Louis Armstrong, start there. If you actually want to go hear someone who can swing their butt33 off, Nicholas Payton would not be a bad start. Branford Marsalis would not be a bad start."
Listen closely, he says, and eventually those mysteries of rhythm and timing will reveal themselves.
1 physicist | |
n.物理学家,研究物理学的人 | |
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2 physicists | |
物理学家( physicist的名词复数 ) | |
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3 unravel | |
v.弄清楚(秘密);拆开,解开,松开 | |
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4 transcript | |
n.抄本,誊本,副本,肄业证书 | |
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5 legendary | |
adj.传奇(中)的,闻名遐迩的;n.传奇(文学) | |
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6 component | |
n.组成部分,成分,元件;adj.组成的,合成的 | |
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7 rhythmic | |
adj.有节奏的,有韵律的 | |
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8 propulsive | |
adj.推进的 | |
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9 eluded | |
v.(尤指机敏地)避开( elude的过去式和过去分词 );逃避;躲避;使达不到 | |
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10 elusive | |
adj.难以表达(捉摸)的;令人困惑的;逃避的 | |
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11 Christian | |
adj.基督教徒的;n.基督教徒 | |
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12 vocally | |
adv. 用声音, 用口头, 藉著声音 | |
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13 offbeat | |
adj.不平常的,离奇的 | |
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14 galloping | |
adj. 飞驰的, 急性的 动词gallop的现在分词形式 | |
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15 dynamics | |
n.力学,动力学,动力,原动力;动态 | |
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16 synchronization | |
n.同一时刻;同步;使时间互相一致;同时性 | |
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17 coordinate | |
adj.同等的,协调的;n.同等者;vt.协作,协调 | |
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18 passionate | |
adj.热情的,热烈的,激昂的,易动情的,易怒的,性情暴躁的 | |
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19 retired | |
adj.隐退的,退休的,退役的 | |
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20 synchronize | |
v.使同步 [=synchronise] | |
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21 timing | |
n.时间安排,时间选择 | |
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22 deviations | |
背离,偏离( deviation的名词复数 ); 离经叛道的行为 | |
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23 recording | |
n.录音,记录 | |
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24 recordings | |
n.记录( recording的名词复数 );录音;录像;唱片 | |
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25 soloist | |
n.独奏者,独唱者 | |
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26 tune | |
n.调子;和谐,协调;v.调音,调节,调整 | |
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27 friction | |
n.摩擦,摩擦力 | |
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28 analyzed | |
v.分析( analyze的过去式和过去分词 );分解;解释;对…进行心理分析 | |
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29 soloists | |
n.独唱者,独奏者,单飞者( soloist的名词复数 ) | |
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30 random | |
adj.随机的;任意的;n.偶然的(或随便的)行动 | |
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31 systematic | |
adj.有系统的,有计划的,有方法的 | |
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32 cipher | |
n.零;无影响力的人;密码 | |
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33 butt | |
n.笑柄;烟蒂;枪托;臀部;v.用头撞或顶 | |
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