Time mastery - feeling the phrase

In a recent post I made about understanding the difference between straight 8th notes and swung 8th notes, I shared my opinion that having a GREAT SENSE OF TIME is the BIGGEST diffeence between a master musician and a total hack, and I mentioned some of the aspects of time that are important, like playing “in the pocket” and feeling 4-Bar and 8-bar phrases.

I thought I’d take a moment here to talk about why it’s important to be able to feel these longer phrases, and one exercise we can do to improve our ability to feel them.

I was fortunate enough to have a mentor for many years who was a drummer. We played in a funk band together, as well as some jazz fusion and smooth jazz projects, and he helped me with ALL aspects of developing my sense of time.

In the funk band sometimes there would be open section where I could solo for as long as I wanted to, and my mentor would always chastise me if I didn’t end my solos in some multiple of a 4-bar phrase. This wasn’t an easy skill for me to learn. It took me about 5 years to start getting good at it. A lot of these solos were over a 1 Bar or 2 bar vamp, so it was more challenging then say a Blues form where the chords are changing and you can really tell where you are.

If you’re gonna be playing in the Blues genre, the most common form is the 12-bar blues (which consists of three 4-bar phrases, as I talk about in her in my Blues for Beginners video.) If you’re playing in more rock, country, pop, reggae, funk, jazz, or ethnic genres then 8-bar, 16-bar, or 32-bar forms are more common. Either way, when your improvising you’re ALMOST ALWAYS playing in SOME MULTIPLE of 4-bar phrases, so being able to feel those phrases will help you to know how to start and end your solo at appropriate times. (Nothing says “I’m a hack” more than ending a solo somewhere in the middle of a form!!!)

Playing a harmonica solo is like telling a story. Great stories have a beginning, middle, and end. First they set the scene, then they build to a climax, or a series of climaxes, and then they have some kind of conclusion and come to an end.

Great harmonica solos are exactly the same. In order to know where you are in the story you are telling, you HAVE TO BE ABLE TO FEEL WHERE YOU ARE in the form.

How can you get better at this? Like everything in life: PRACTICE IT. One way you can practice it is counting while you listen to music. Is it fun and relaxing? Um, no not really. Is it sexy? Nope. Will it help you learn forms and develop the ability fo feel 4-Bar, 8-Bar, and 12-Bar phrases better? YES IT WILL!!!

This is how I count bars. Common time is 4 beats per bar, so we count “1,2,3,4
1,2,3,4
1,2,3,4
1,2,3,4”
Over and over again throughout the song. But to keep track of where I am within, say a 4-Bar phrase, INSTEAD OF SAYING “ONE” on beat 1 of each bar, I will SAY THE BAR NUMBER on beat one of each bar.

So the first bar is BAR ONE so I say, “ONE, two, three four.”
Second bar is BAR TWO so I say, “TWO, two, three four”
Third bar is BAR THREE so I say, “THREE, two, three, four.”
Fourth bar is BAR FOUR so I say, “FOUR, two, three, four.”

Do you follow me? In a 4-bar phrase, I’m saying which number bar we’re in on the 1st beat of each bar.

If you’re counting bars in a 12 bar blues, you could do this for every bar so your last bar you’d be saying “TWELVE, two, three four.”

That’s not a bad way to do it. But another way to do it, because we know that the 12-bar blues is really THREE 4-Bar phrases, we count a four bar phrase like I just explained, BUT WE ALSO USE OUR FINGERS to help us remember which 4 bar phrase we are in.

So at the beginning of the form I HOLD UP MY INDEX FINGER AND COUNT:

ONE, two, three four.
TWO, two, three four
THREE, two, three, four.
FOUR, two, three, four.

The NEXT BEAT will be the FIRST BEAT of the SECOND 4-BAR PHRASE, so I RAISE MY 2ND FINGER (as well as my index) so that I remember I am in the SECOND 4-bar phrase (bars 5-8 of the 12-bar blues form) and I count again:

ONE, two, three four.
TWO, two, three four
THREE, two, three, four.
FOUR, two, three, four.

The NEXT BEAT will be the FIRST BEAT of the THIRD 4-BAR PHRASE, so guess what I do? Yep you guessed it! I RAISE MY 3RD FINGER to remind myself I’m on the third 4-bar phrase (bars 9-12 of the 12-bar blues) and I count again:

ONE, two, three four.
TWO, two, three four
THREE, two, three, four.
FOUR, two, three, four.

On the NEXT BEAT we are BACK AT THE TOP OF THE FORM AGAIN. So I raise only my first finger and start again.

Next time you’re listening to a blues song, try doing this for a few choruses. You will begin to hear more deeply how people are phrasing their solos as you are placing more attention on the form in which they are doing it.

This type of exercise is one form of a practice called ACTIVE LISTENING, and is as helpful to your harmonica playing as practicing scales or learning how to play songs or licks.

As you count and become aware of these phrases, you will grow in your ability to FEEL them without having actually count them, and that is a big step forward in your musicianship.

Try it and then LMK your thoughts.

Rock on harmonica fam!

Aloha,
Luke

6 Likes

Fabulous explanation Luke.
Robert
London :canada:

1 Like

Right on Robert! Glad it helped!

Aloha from Hawaii,
Luke

I just started your beginner course and since you explained the counting of bars in the video, even before reading this article I started to try to feel the length of the phrases and count those bars in the music. For example when I am at the gym during the rest in between sets, I will listen to the music played at the gym and practice that. But as all sorts of music is being played it seems that different genre have different patterns, which you seem to confirm in this post. The genre that puzzled me the most so far is electro. It seems that phrases’ length changes throughout a song while in other genre tends to keep the same phrase length. Is that true or is it me getting/listening wrong?
There are also song where I have a hard time figuring the phrase length. I was listening to an electro track which reminded me the song track “The making of a Cyborg” of the animation “Ghost in the Shell”. So I was listening to it again and could not figure it out for sure. This is far away from Blues but I guess practicing this on all genres will only pay long term.

2 Likes

Yeah the timing on that track you linked to is really hard to figure out. I couldn’t figure it out with a quick listen. Anytime there’s nothing giving a steady pulse, it can be very challenging, so if an electro song goes into something more ambient, it can be very hard.

But like 95% of electro is gonna follow the same thing of being in 4-bar and 8-bar phrases. Just sometimes it’ll go into triplet feel (especially in Dubstep, for example) which is just such a different universe in how it feels compared to 8th notes and 16th notes.

BTW - I cover feeling 2 against 3 here:

3 Likes

Thank you @Luke . “Feeling 2 against 3” is I think too advanced for me at the moment as a beginner. I’ll keep baby steps for now and will get there in time I’m sure.
But going back to my question to songs generally keep the same phrase length throughout or is it common for songs to change phrase length, e.g. 4 or 8 bar phrase build up, then 16 bar phrase?

1 Like

Not sure exactly what your question is, but it is common for various sections of songs to have some multiple of 4 bar phrases. For example:
Int 4 bars
Verse 1 16 bars
Chorus 1 8 bars
Int 4 bars
Verse 2 16 bars
Chorus 2 16 bars
Bridge 8 bars
Chorus 8 Bars
Outro 4 Bars

You know that kinda thing. Occasionally you might have an extra bar or an extra beat, but those are the exceptions, rather than the rules. Does that answer your question at all?

@Luke the example you give is exactly what my question is about. There can be variations.
But sorry I have another one, just to make sure I am clear. In the example you give, will the song be considered to

  1. be a 4 bar phrases, with some sections (e.g. verse 1) having more phrases than others.
  2. or made of a 4 bar phrase, followed by a 16 bar phrase, followed by an 8 bar phrase etc?

From your answer it seems to be (1), but I just want to make sure my understanding is correct. Sorry if I’m annoying with stupid questions.

1 Like

@Mugen not annoying or stupid at all. I’m glad you’re taking this subject seriously! Most people don’t understand how valuable to improving your musicianship it is to gain an innate feeling of 4 bar phrases.

Solo’s should be like telling a story, and have a beginning, middle, and an end. And ending’s should happen…at the end! Tension & resolution all need to happen within context for maximum impact.

Yes, if I’m understanding your #1 correctly - that’s the right idea.

Songs’ sections typically will be some MULTIPLE of 4 bars. (Again, as with all rules, there are of course exceptions.)

  • So in my example, the verses were comprised of FOUR 4-bar phrases.
  • The first Chorus was made up of TWO 4-bar phrases.
  • A standard 12-bar blues is made up of THREE 4-bar phrases.

Is that confirming what you were inferring?

2 Likes

Hello @Luke, yes this is exactly confirms what I was saying. This begs another question for me though. I feel dumb with my questions but what is the difference between two 4-bar phrases and an 8-bar phrase?

1 Like

@Mugen well just context / continuity really.

An 8-bar verse, for example is comprise of two 4-bar phrases, but it makes sense to call it an 8 bar phrase because it constitutes one complete harmonica/melodic idea.

On the other hands, the last 4 bars of the verse and the first 4 bars of the chorus don’t really constitute an 8-bar phrase. It’s 2 adjacent 4-bar phrases that have different musical ideas / pursuits / goals / expressions.

The 12-bar blues you could certainly say is a 12-bar phrase. But you can just as validly say it’s three 4-bar phrases (with lyrics following AAB format.)

Love that you’re wrestling with this stuff @Mugen. So important an so often overlooked.

3 Likes

Thanks @Luke it clarifies a lot of things and I think the rest will come with practice and time.

3 Likes