In the jazz Phrasierung is in various regard a style-coining/shaping characteristic, both which the personal and the epoch style concerns. Contrary toClassical period in the jazz in the rarest cases Phrasierungszeichen are noted. On the contrary: One even assumes certain general Phrasierungsgesetzmässigkeiten generally admits and in addition is free for own interpretation. So for example the Swing in such a way specified - Phrasierung. During here on eighth level straight (binary) eighthsare noted, is triolisch the execution of these eighths (ternary). That is, that one plays those in each case first and last Triole of a group of eighth tri oils (so at least the usual explanation in notation, the so-called. Groove results usually only from flexible and dynamic handling and Ausgestalten of the eighth lengths).
If one would do this always completely exactly directly, then one would sound static like a computer and the played line would not have anything of the aliveness, which one knows from hundreds of great jazz improvisations. Since now however the different musicians the same melody all somewhat differently play(although directly notes), it sounds always somewhat differently.
In the Swing it is for example frequent the case the fact that the third Triole (already mentioned) of the group of tri oils is too early played somewhat, so that it results in partially nearly straight eighths (before a ternary piece one calls thisduolisch), but evenly not completely straight eighths. Thus its own, not music feeling which can be noted results. In addition likewise the treatment of the stress of the individual tones contributes. In the jazz it is often the case that tones on unbetonten Zählzeiten are stressed, thus the exact oppositefor example to the German march music, without this is however constantly the case. This shows itself very good among other things by the Soli of Charlie Parker, which developed from repeated plays of topics and pieces improvisations, which became later own pieces.