On the other hand, they're going to have to listen to it to learn the feel, and if the teacher is counting that option is a problem too. One could argue if they can't play swing correctly they aren't ready to play it at all. Young beginners may be able to add the skill of learning by feel rather than counting more easily than the teacher. I think it's fair to say that the kind of jazz pieces most piano students play are written as supplementary material to a mostly classical approach, and I find that teaching the swing ones in a tripletty feel works absolutely fine - in fact, many of them specifically state that the quavers should be played as the 1st and 3rd of a triplet.įWIW, I often find that getting the student to say "one banana two banana" works really well for establishing the basic swing pattern, and other banana-related phrases can easily be invented for fragmented swing rhythms. As you say, it varies from piece to piece anyway, and the kind of rhythmic awareness you are alluding to here is way beyond most beginners, and, let's face it, a fair percentage of teachers would struggle to get an 'authentic' jazz feel, especially if they specialise in classical music. IMHO, teaching swing as a triplet feel makes perfect sense, as it still provides an adequate foundation from which they can learn the basic co-ordination required to syncopate between the hands.
I don't think that this approach is remotely necessary at the level we're talking about, here. However actual swing is more commonly a 1.5:1 ratio - it usually is not swung as hard as you think.Ĭounting 2:1 is easy but 1.5 is not, you almost have to feel it. You are teaching triplets which have a 2:1 ration.
The ratio for swung notes varies a bit from style to style.
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