This etude is a modified excerpt from my e-book, ii-V7-I: 40 Creative Concepts for the Modern Improviser. “Turnbacks” (multiple key ii-V cycles with two chords per measure) are a staple of so many jazz standards. Here is a really simple way to add rhythmic tension over turnbacks in order to slightly obscure their (sometimes) overly obvious symmetrical structure/nature. Take a look at the example above.

I start the line with two simple four-note melodic shapes from the D major scale that imply an E minor tonality. These two shapes can be thought of as either 4/4 (the two shapes together) or two, 2/4 subdivisions (each shape a separate, accented subdivision). In the second measure, I switch tonalities to Bb minor, which is a nice sounding color over the Dmin7 to G7 , adding two altered tensions (Db and Bb). But here I also alter the subdivision to imply a 3/4 measure. (This is made evident by virtue of the movement/shape of the line; it is also marked with accents for clarity).

On the fourth beat of the second measure, I simply transpose the previous six-note shape down a half-step to A minor. This creates a slight dissonance over tonic (the G#), which helps to support the rhythmic energy of the polymetric subdivisions. On beat three of the third measure, I switch back to the 2/4 subdivisions (or 4/4, if you prefer) to play two arpeggiated 7th chords (F maj7 and E min&) that finish the line ending on the +11 of major (the F#). So, as you can see, I’m using simple, familiar sounding melodic shapes, but using different metric subdivisions to create a line with a few surprises. The metric subdivisions over the entire four-measure form is: 2/4, 2/4, 3/4, 3/4, 2/4, 2/4, 2/4. This is definitely one to  practice with the metronome clicking on 2 and 4, and/or a with a nice backing track, so that you get a real feel for the rhythmic tension.

If you’d like to explore polymeter in a more comprehensive and methodical way, please consider my e-book, Essential Polymeter Studies in 4/4 for the Improvising Musician. And/or if you’d like to explore more ways to use minor scales as substitute tonalities over dominant chords, please consider my e-book, Melodic Minor Scale Jazz Studies: Tonal Organizations and Applications Over Dominant Chords. Click below for a free, downloadable pdf of this etude:

Mixed Polymeter Over Turnbacks-pdf

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