In jazz, a bar-line shift is a technique in which, during improvisation, one plays the chord from the measure before, as an anticipation of a chord, or after the given chord, as a delay, either intentionally or as an "accident."[1]
Bar-line shifts may be caused by a novice having lost their place in the chord progression, but is most often attributable to: "(1)...harmonic generalization, as in the case of playing a IIø to V7 (+5, +9) progression [II-V-I turnaround] as only a V7 (+5, +9); or (2) the player wanted to play the previous chord (though it has already transpired), but was either pausing momentarily (as in taking a breath), and decides to adopt the 'better later than never' attitude."[1] An example of a "very intentional" bar-line shift may be found on Cannonball Adderley's solo on "So What," "in which he deliberately enters and exits the bridge early, causing considerable tension, since the chord of the A section (D-) is one-half step lower than the chord of the bridge (E♭-)."[1] Other notable performers to use this technique include Charlie Parker, Coleman Hawkins, and Pat Metheny.[2][3]
Outside of jazz, a bar-line shift may be less than a bar, causing a change in the metric accent of the melody and its cadence.[4]
- ^ a b c Coker, Jerry (1997). Elements of the Jazz Language for the Developing Improvisor, p.83. ISBN 1-57623-875-X.
- ^ "Bar-Line Shift and Superimposition". TJPS. Retrieved 2024-09-09.
- ^ Heerspink, Lee A. (2020) A Bright Size Transformation: Examining Pat Metheny’s Improvisatory Evolution through Select Original Compositions from the Album Bright Size Life (1976), pg. 46. ISBN 9798641899565
- ^ Newman, William S. (1995). Beethoven on Beethoven: Playing His Piano Music His Way, p.170-71. ISBN 0-393-30719-0.