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.

Bud Powell and other piano players influenced by him mostly did away with left-hand rhythmic figures, replacing them with chords.

"[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.