Chords for (lesson 1) Comparing 4 beat jazz to Ragtime -- Eddy Davis Banjo

_ _ Well, let's see.
I thought maybe I'd try some things for you guys.
I guess you're hearing the [C] parrot a little bit in the background.
He's off in the other room there.
_ [Bm] _ _ _ _
[C] I'll _ [D] [G] see if I can start [E] simple. _
[C] I'm just running a C scale.
_ _ [G] _ _
[C] _ _ _ _ _ _ I just read a chord with an A-arp in it.
[G] _ [Am] _ _
[C] _ The sixth chord.
Here's a
straight _ _ _ C chord.
Anyway,
_ _ the difference between
[G]
jazzing something and
playing it straight is the [C] eighth notes that are involved in it.
[Gm] _ A song has, [N] if you're in 4-4 time, a [C] song has four beats to the bar.
_ [Dm] [C#m] Three [C] _ _ _ [G] _ _ [C] _ _ _
[G] four.
[C] Rag time would make it eight to the bar.
Makes it one two three four five six
seven eight.
One two three four five six seven eight.
[N] It was a quarter note, what they call quarter notes.
One two three four five six seven eight.
Or you'd say
one and two and three and four and one and two and three and four and.
That's ragtime.
That's
Latin music.
That's rock and roll.
That's why all those music work today for the young people because they think they're fast.
Because they sound twice as fast as they are.
So when you play [Cm] jazz and it's straight [G] four to the bar,
[C] _ _ _ it [N] sounds like it's not in the realm of what they understand.
They understand straight eight eight to the bar.
Rock and roll.
[C#] Latin music is the same thing. _
Ragtime was [Cm] that.
You know,
_ _ _ [C] that's just accenting one two three two three four.
_ _ [N] That's just accenting the
certain things within the realm.
That's what rock and roll, or not rock and roll, I mean ragtime is
same eight to the bar as the Latin and the other except it has inside accents.
That's where syncopation came in.
That's what they talked about the European syncopation
against the African beat of jazz or whatever.
And it [Cm] was the
[G#] _ you know, it's that accent and it goes on.
[C] You know,
_ _ _ if you play 12th Street rag, a lot of people just play [A] it. _ _
[C#] It needs to be [A] accented.
_ It _ _
[N] _ needs to have
accents within the eight bar pattern, eight to the bar pattern, eight beat to the bar pattern.
And that eight beat to the bar pattern is brought about
by eight notes.
A quarter note gets one beat.
When you see what it says four four time,
that means there are four beats in a measure on the top four.
The bottom four is a quarter note
_ gets one beat. _
And a quarter note _ is _ _
_ [B] [Em] one two three four one two [N] three four.
And eighth note is half of that.
So it goes one and two and three and four and_
So eighth note, eight to the bar, what they call eight to the bar, which was also boogie-woogie.
[E] When it came in, that's what brought in rock and roll was boogie-woogie brought in rock and roll.
Eight to the [C] bar.
You _ [Cm] _ _ [C] _ _
[Am] know, it's eight to the [C] bar, accented within wherever.
So all those things brought about that.
Now when you jazz things,
you have four to the bar, [C#m] but they take that eighth note [N] and
they make it sound like it's a dotted eighth note and a 16th note.
Instead of two eighths in a row,
they get the feeling it's a dotted eighth note.
And when you dot that eighth note, that gives it another half beat.
Anything that's dotted gets half again of what it is.
I know you're wondering what's_
This is it, but this is as simple as I can tell you.
You take a note, an eighth note, and dot it and you get
half again that beat.
So to make up one beat, you would have to have a dotted eighth note and a 16th note.
Because a 16th note is that.
[E] If you played 16 notes to the bar, you'd go 1-e-and-a, 2-e-and-a, 3-e-and-a, 4-e-and-a,
1-e-and [Em]-a, 2-e-and-a, 3-e-and-a, 4-e-and-a.
Instead of 1-and, 2-and, 3-and, 4-and, those are eighths.
The 1-e-and-a, 2-e-and-a, 3-e-and-a, 4-e-and-a are 16th notes.
So if you take a dotted eighth and you give it a 16th note after it, you get_
_ _ _ _ _ [N] Sort of sounds like a 6-8 march effect.
Well, that's the effect that you get when you loosen that up [C] and swing music.
So if it's written as a whole string of
_ 16th, of eighth notes, a whole string [N] of eighth notes, and you jazz it, you'll play it as like [C] dotted eighths.
_ _ _ ♪ Do-be-do-be-do-be-do-be-do-be-do-be-do [Dm]-be-do [G]-be-do-be-do-be [C]-do-be-do-be-do-be-do-be-do-be-do-be-do-be-do-be-do-be-do-be-do-be-do-be-be-do.
[N] You get it by_
Now, when it's written, usually you don't write that.
You just say swinging above it, and write it as a straight eighths.
And the people who play that kind of music, they understand that it's supposed to be loosely played as a dotted eighth 16th instead of straight eighths.
If you've got straight [Em] A's, you've got ragtime, you've got Latin music, you've got rock and
roll