[vindibona1]

Originally Posted by JonPR

I wouldn't automatically assume this is meant to be played as swing or shuffle.

vindibona1 is quite right that blues is usually played that way, and a jazz musician would probably assume the 8ths should be swung. But for an exercise like this I think that feel would be indicated if it was required (usually by what's known as a "metric modulation" sign (like the one below).

So I suspect it's meant to be played straight. Certainly you wouldn't be criticised for playing it straight, because that's exactly how it's written! (That's how a classical musician would play it.)

Then again, if you play is as vindibona1 did, you shouldn't be criticised either, because you've added an appropriate stylistic interpretation.

The point is to be aware of both options, choose the one you prefer, and be able to explain your choice if asked.


Here's how it sounds played straight (on midi software):


As I say, take your choice. I guess you're OK with the fingering indications? One important thing is to let those long melody notes ring while playing the bass part.

Thanks for the contrast in straight vs swung. However, I disagree with playing the 8ths straight. It's out of context for the blues style. Perhaps I've missed something in the OP's set of instructions from his teacher.

It's never a bad idea to try playing things differently and perhaps the OP should try playing it both ways, but if played straight, it's just (in jazz idiom) "square". Blues/jazz is traditionally automatically assumed to be played swung. Since the OP is taking lessons I have to wonder what his teacher had to say about it. It would seem odd that it would be thrown at him with no instruction or demonstration.

Edit: As someone else said, I wonder why the teacher assigned this particular piece? While this may be a bit irrelevant to a player who has little or no prior musical experience, it should be noted that ALL written music is only a skeleton, an outline of what the sound actually is. It always must be interpreted in some way. If you listen to various orchestras playing the same symphony (pick you're classical symphonic piece here) you should hear a different interpretation in each and every orchestra, depending on the conductor's vision of it. Tempo, how figures are stresses, variation from staccato to legato... all interpreted. I cannot tell you how many times a conductor has said to a group that I was performing in; "Play it like it sounds, not as it's written". At higher levels you are expected to know how it's supposed to sound and choose the proper context. If you use Tab music as an extreme example, you have a minimum amount of information as to how the music goes.