Drive (music)

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Under Drive (engl. "Drive", "driving") are understood in jazz as well as in the African-American pop - and in the rock music a subjectively perceived pick-up of the pace at objectively constant pace. There is a chasing, propulsive impression. Occasionally, however , drive is also understood in a far simpler way than " rhythmic intensity".

General

The tempo of a piece of music can be influenced formally by given time signature , note values or rests . The drive, on the other hand, does not result from the sheet music , but from the way the interpreters play. During the drive, you can subjectively feel an increase in the tempo without objective acceleration; the focus is on the energy and driving force of the soloist. Ekkehard Jost points out that the perception of drive is "a psychological quality acquired through musical socialization "; it “therefore requires appropriate listening experience .” The drive is thus an apparent accelerando at a formally constant pace. In contrast to this, an acceleration in tempo that can be seen formally from notes is not a drive, but a change in tempo or accent .

The drive developed from the rhythmic tension and intensity of the swing as well as from nuances of dynamics , articulation and accentuation during play. "You can clearly feel a rise in tempo, although you are consistently playing at the same tempo," Wingy Manone is quoted in Reclam's jazz guide . The drive is all the more noticeable the more musicians play “shifted” in time and produce their notes slightly too early (up to a note value of an eighth note at most).

Both the rhythm and the melody group of a band can be responsible for the drive . In the rhythm group, the drive can in particular be generated by the drummer who pushes the basic beat, while the melody group can contribute to the drive by playing notes too early. When it comes to drive, the focus is often on the energy and driving force of a soloist, it is the "manifestation of personal magnetism".

Drive in rock music

The term drive has been adopted from jazz by other musical styles . In rock music, the term “persevering or even increasing the tension” describes what is mostly done by the rhythm section. “A springy rhythm, density or condensation of the musical events with strict adherence to the timing and original volume are responsible for the drive.” Schmidt-Joos / Graves see the drummer as the driving force behind the drive. The offbeat of singers can also be one of the essential factors in generating the drive in rhythm and blues , soul and other genres of pop music as well as rock. Because the offbeat is “too early”, the feeling of acceleration arises, which is typical of the movement character of many pieces.

Individual evidence

  1. ↑ Jürgen Wölfer , Lexikon des Jazz Hannibal, Vienna 1999 (2nd edition), p. 130. Cf. also Martin Pfleiderer , Rhythm: psychological, theoretical and stylistic aspects of popular music Transcript: Bielefeld 2006, p. 343
  2. ↑ Joachim Ernst Berendt , Das Jazzbuch , Fischer: Frankfurt am Main, p. 377
  3. ↑ "Drive defies any notation in notation." Joachim E. Berendt, Das Jazzbuch , 1953, p. 114
  4. ↑ Ilse Storb Jazz Meets the World - The World Meets Jazz , 2000, p. 5 f. She cites the LP Brubeck Plays Brubeck as a characteristic example (recorded on April 18/19, 1956), which contains piano solos by Dave Brubeck . In his evergreen Take Five (August 18, 1959; with the unusual 5/4 time), a basal (oriented towards the base) ostinato by Brubeck provides drive on the piano. Cf. also Georg Schipporeit, Jazzhörich - A life with modern jazz , 2012, p. 79
  5. ↑ a b Ekkehard Jost: Drive. In: Wolf Kampmann (Ed.), With the assistance of Ekkehard Jost : Reclams Jazzlexikon . Reclam, Stuttgart 2003, ISBN 3-15-010528-5 , p. 601.
  6. ↑ Carl Gregor Herzog zu Mecklenburg and Waldemar Scheck, on the other hand, consider drive to be a dynamic - agogic term: Drive and swing are not always clearly separable. - Carl Gregor zu Mecklenburg / Waldemar Scheck, The theory of the blues in modern jazz , 1963, p. 88 f.
  7. ↑ on the other hand, if a groove is played behind the beat , the listening impression is called “laid back”.
  8. ^ André Hodeir, Jazz: It's Evolution and Essence , 1956, p. 208
  9. ↑ Bernward Halbscheffel / Tibor Kneif, Sachlexikon rock music: instruments, styles, techniques, industry and history Reinbek near Hamburg: Rowohlt 1992, p. 115; see. also Wieland Ziegenrücker / Peter Wicke , Sachlexikon Popularmusik , 1987, p. 106
  10. ^ Siegfried Schmidt-Joos / Barry Graves , Rock-Lexikon , 1975, p. 396
  11. ↑ Martin Pfleiderer, Rhythm ... , 2006, p. 218