So, on to example 2d then. In this example, I have mixed two note values within the same line; sixteen note triplets, and straight sixteen notes. You hear how much more random and musical this is starting to sound when compared to examples 2a-b?
You should be able to do this with any lick or idea you have, changing note values within your lines as you go along. Not finishing one line before heading into another one with a new note value. Then you’re still caught in the ”lick-rut”!
Then we go to example 2e. Here we can start to see how powerful this tool can be. I’ve used this concept, and applied it to a line heading downwards in the G Dorian blues scale. Now isn’t this a far cry from the stale monotony of example 2a.b? Keep it grooving, and try to play it over and over again, varying the note values as you see fit. Maybe beginning with 8-note triplets instead, and inserting rests at other places. Remember, this is not a lick this is a concept! I’m only giving you the tools you need, YOU have to do the work!!!
All right then, you made it through the first hurdle! Good job! Now let’s move on to the next part, something I call Rhythmic Superimposition! See you in examples 3a-c!