Swing time

Colloquially, it is used to describe the propulsive quality or "feel" of a rhythm, especially when the music prompts a visceral response such as foot-tapping or head-nodding (see pulse).

Like the term "groove", which is used to describe a cohesive rhythmic "feel" in a funk or rock context, the concept of "swing" can be hard to define.

"[3] The Jazz in America glossary defines swing as, "when an individual player or ensemble performs in such a rhythmically coordinated way as to command a visceral response from the listener (to cause feet to tap and heads to nod); an irresistible gravitational buoyancy that defies mere verbal definition.

His contemporary Tommy Dorsey gave a more ambiguous definition when he proposed that "Swing is sweet and hot at the same time and broad enough in its creative conception to meet every challenge tomorrow may present.

"[4] Boogie-woogie pianist Maurice Rocco argues that the definition of swing "is just a matter of personal opinion".

Perhaps the best answer, after all, was supplied by the hep-cat who rolled her eyes, stared into the far-off and sighed, "You can feel it, but you just can't explain it.

Physicists investigating swing have noted that it coincides with a perceptible difference between the timing of a soloist and the rest of the performers.

Similarly, the rhythm guitar was played with the lead-in beat strummed by the player, but so softly as to be nearly or completely inaudible.

[13] As swing music developed, the role of the piano in the ensemble changed to emphasize accents and fills; these were often played on the lead-in to the main beat, adding a punch to the rhythm.

Jo Jones carried the high-hat style a step further, with a more continuous-sounding "t'shahhh-uhh" two beat figure while reserving the bass and snare drums for accents.

[14] Horn sections and soloists added inflection and dynamics to the rhythmic toolbox, "swinging" notes and phrases.

Straight eighth notes were commonly used in solos, with dynamics and articulation used to express phrasing and swing.

"[15] Bebop soloists rose to the challenge of keeping a swinging feel in highly sophisticated music often played at a breakneck pace.

In the Middle East, a rhythm very similar to shuffle is used in some forms of Iraqi, Kurdish, Azeri, Iranian and Assyrian dance music.