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Over the Bar Line Phrasing

  • Definition:
  • “over the bar line” (OTBL) has become a saying used by some jazz musicians to describe a way of phrasing over time in a way that seems independent of the precise mathematical breakdowns used in notation.
  • Philosophy:
  • The aesthetic quality of OTBL phrasing can give a more natural humanistic feel to the music and creates an illusion of independence to the time and/or the time signature. This independence is very conducive to interactive playing since it “frees up” the time; thus opening pathways to exploration right on the fly. Another side benefit to OTBL phrasing is it inadvertently takes time for granted, which is a good thing, since time passes whether we think about it or not. Taking time for granted allows players to use implication more and more; thus freeing them up from the habitual role playing, and the false sense of responsibility. As players get comfortable playing off the time rather than feeling they must produce the time, using space will come more naturally. Once players become comfortable using space (silence) as part of the music, habits will diminish and originality will flourish.
  • Usage:
  • There is nothing really new about OTBL phrasing. Vocalists have been singing melodies this way forever. Some vocalists, that is. Brazilian vocalist Joao Gilberto, for instance, uses it very effectively all through the album (CD) Amoroso/Brasil and has a profound romantic and calming effect on the music. In Jazz, however, where things are improvised rhythmically, melodically, harmonically, and dynamically, OTBL phrasing opens up new worlds for musicians to explore together; interactively. OTBL phrasing is not restricted to the soloist. It is applicable to everyone whether comping changes, playing bass, or drums/percussion.
  • Criteria:
  • Like all creative endeavors, there is no pre-planning involved with OTBL phrasing. It should never be forced or even intellectually approached. Good musical taste should define the where or when of it. Good musical taste comes from within and not from books or exercises or even knowledge. In fact, the whole idea of taste to begin with, should be clear-cut and personalized. If everyone played exactly what they heard in their head, they may suffer less frustration.
  • For me, a key factor in getting OTBL phrasing into my playing is being in touch with some natural polyrhythmic relationships. Namely duple and triple meter and how they can co-exist. Much like a drummer, I feel the importance of developing the coordination it takes to execute multiple simultaneous speeds using feet, hands, voice, fingers or whatever. This allows my foot to pulse with regularity while my hands/fingers are free so do almost anything with the time without disruption. Forgetting about time is internalizing time. Once internalized, time can be sub conscience. On a sub conscience level, the brain will control your foot while you are freed up for OTBL phrasing.
  • I should also mention that knowing the piece so well that you don’t have to think about it, is important for OTBL phrasing. It can be pretty disruptive to be on a train of musical thought only to be disrupted by having to think about or look at the music. Knowing a piece of music is to always know where you are in the form and to be able to hear you way through the harmonic progressions without too much conscious memorized thought. Getting comfortably absorbed in the sound of the tune is, for me, the most conducive for OTBL phrasing.
  • Some Tools Some Toys:
  • Creating Three against Four
  • “Run! As fast as you can, as fast as you can. . . . . . ”
  • If you can say “run! As fast as you can, as fast as you can”, your body is ready to experience two independent tempos simultaneously in no time at all! (no pun intended)
  • Here’s how:
  • A) Using both hands on a tabletop, assign the following configuration as follows:
  • “Run!” both hands tapping together
  • “as” left hand only
  • “fast” right hand only
  • “as” left hand only
  • “you” right hand only
  • “can” both hands together again
  • “as” left hand only
  • “fast” right hand only
  • “as” left hand only
  • “you” right hand only
  • “can” both hands together again
  • “as” left hand only
  • …and so on creating a repetitive loop.
  • The words “Run!” “Fast” “Can” will cycle through as the quarter notes so set one of your feet to match these words. In the current perspective, this rhythmic figure resembles a snare drum march type beat. We will change this perspective by a simple adjustment.
  • Play this a few times at a medium tempo until you get it down tapping foot in quarter notes.
  • C) Having the rhythm and coordination down, it’s time to really experience this natural phenomenon of three against four. In your right hand, hold a pencil using the point as a drum stick tip. The tapping on the table will take on a higher pitch sound to simulate a ride cymbal playing the traditional jazz swing beat. Since the left hand is empty while continuing this rhythm loop, it’s sound on the table is deeper therefore giving distinction between the two hands (sounds). If you followed step by step there is a good chance that you are still hearing the march type beat (run! As fast as you can) since this is what got you here.
  • Don’t worry as changing perspective of something can take a little time. But rest assured you are right in the middle of a polyrhythmic phenomenon with two different but related tempos going at the same time. If you count your foot beating in quarter notes, your body is experience three different parts simultaneously. Want to loose the march feel? Try stopping altogether for a moment, pick a new base tempo, (faster) start by playing the pencil in the right hand, but the left hand tapping air. Listen to the pencil hand tapping on the table for a while. It’s a 4/4 jazz cymbal beat with your foot in quarter notes. Now, go ahead, add the left by lowering it to hit the table again. Hear that complex rhythm? Your right hand and foot are in 4/4 while your left hand is playing 3 equal beats to every 2 foot taps. Master this. Remember, the key to OTBL phrasing is being in touch with polyrhythmic phenomenon using body language.
  • Metric Modulation 3/4 to 4/4 and back
  • Using the analogy of 4 seconds to represent 1 measure of quarter notes, in theory, it is possible to squeeze any even time interval within these 4 seconds of time, IF the speed was set at the exact precise rate. For instance, we could make 5 even pulses just a bit faster than the 4 seconds so that the sixth beat would equal the first beat of the 4 group. Let’s say we wanted to squeeze 11 beats into this 4 second frame or even 111 beats; this should be possible since there would be some unique rate set to match this 4 second interval frame. Of course 111 even beats squeezed into 4 seconds is not very practical or even natural (at least not in 2001) let alone musical. Hey, as far as the future goes, I never rule anything out because of evolution. If Bach were to pop up from his grave in today’s world of polytonality and non-diatonic harmonic progressions that work so beautifully to our ears, he may be in ecstasy or agony.