based upon vertical axis: milliseconds before (-) or after Adeyola's bassline (+), by increments of 5 A macro view of same kind of comparison shown in Figure 7, except here we see only one set of relationships. For purposes of illustrating Sinclair's and Qadir's ridetaps in relation to Adeyola's bassline has been treated as an abstract beat, and therefore appears as a straight line. This content downloaded from 157.55.39.104 on Mon, 20 Jun 2016 05:36:00 UTC All use subject to http://about.jstor.org/terms Searching for Swing 43 bars 5, 6, 7 and 8). Recalling that they did not hear one another during this experiment, but that they did play to identical basslines, this phenomenon might be related to something they each heard in bassline which made them move into a particular niche and then switch to another. It is almost as if two tappers have an opposite conception of what swings, judging from these excerpts, at least. This appears so until about bar 9, when two ridetaps suddenly appear to converge. Is this again related to something in bassline, or is it their own individual senses of bringin' it on home or rollin' up as final phrase of chord progression leads back to top? What exactly is role of syntax in relation to groove in these and performances? Are these places where syntax engages groove? These are kinds of questions that ethnographer can attempt to answer, perhaps even in context of a shared relistening with musicians, after performances like these have been analyzed for kinds and places of participatory discrepancies. The catching up phenomenon, as noted earlier in Keil's ridetaps, takes on a different shade of meaning in Sinclair and Qadir's performances. The two change their orientations at around beat 4 of measure 1, as Keil did, but complete graph in Figure 8 shows that this may not be catching up but instead could illustrate a cyclical approach to playing. Sinclair and Qadir appear to cycle their ridetaps in and out of phase with bassline, unlike Keil, who, once caught up, stayed in that niche. Does this mean that Qadir and Sinclair are looser than Keil? More playful? It could be that Keil had more of a preconceived notion of what he wanted to do, whereas Sinclair and Qadir were going with groove. Whatever answers to these compelling questions, these results have allowed us to begin to comment upon stylistic elements at a subsyntactical level. What are a musician's perceptions-both conscious and unconsciousin relation to the other? The other in cases shown above has been a pre-recorded bassline, but could have been another performer. Interaction may be heightened in a live situation with more participants, or it may actually be subdued. Certain kinds of participatory discrepancies may decrease as number of performers increases. One performer has to generate swing alone, but with two a kind of push/pull interaction begins. And perhaps with a full ensemble each person's participatory discrepancies will tend toward shifting from ahead to behind, and back to ahead, as performers constantly re-orient themselves to each other, sliding in and out of phase with each other. In sum, participatory discrepancies appear to be contingent upon context and personal touches, but we need more experimenting and interviewing to get at these issues.19 Turning to another set of performers, this time from a commercial music-minus-one recording featuring bassist Steve Rodby and drummer This content downloaded from 157.55.39.104 on Mon, 20 Jun 2016 05:36:00 UTC All use subject to http://about.jstor.org/terms 44 Ethnomusicology, Winter 1995 Mike IIyman (Ten Jazz Standards with Jimmy Raney. Jamey Aebersold, JA1230, 1979), it is possible to make some comparative observations. Played at a tempo of roughly 180 bpm, Mike Hyman's ridetap pickup was about 33% of beat width, unlike Keil's ridetap pickup which, at a similar tempo, was about 25% of beat width (see Figures 3 and 4). Furthermore, Keil's ridetap was relatively consistent, whereas Hyman's fluctuates. Nor does Hyman always place short taps after beats 2 and 4. Recall also that Keil's ridetap fell consistently ahead of bass. Hyman's ride tap also falls ahead of bass on many of beats shown, except fourth beat of bars 1 and 19 (see Figures 9 and 10). As we saw above, Keil takes approximately 4 beats to settle into a ridetap-ahead-of-bassline groove. Hyman catches up to bass (if we can
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