Episode Synopsis ""Now's The Time' - 6 choruses of a 16-bar tune with a 4-bar ending of an even-8th jazz rhythm at 250 bpm Song Rhythm Track"

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Listen ""Now's The Time' - 6 choruses of a 16-bar tune with a 4-bar ending of an even-8th jazz rhythm at 250 bpm Song Rhythm Track"

More episodes of the podcast Get Better Rhythm in Modern Music

• “Cemento, Ladrillo y Arena” – 4 choruses of a user-defined form (as 8|16/8 bars) with an 8-bar intro’ and no ending, using a Son Montuno 32 rhythm at 170 bpm
• “Yo no Quiero Piedra en me Camino” – 6 choruses of a 16-bar Tune (as 8|8 bars) with an 8-bar intro’ and a 10-bar ending, using a Guaracha 32 rhythm at 180 bpm
• “Song For Maura” – 5 choruses of 32-bar A1A2 form (as 16|16 bars) with an 8-bar intro’ and a 4-bar ending, using a Mambo rhythm at 150 bpm
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• “El Jamaiquino” – 3 choruses of 24-bar AAB form (as 8|8/8 bars) with an 8-bar intro’ and no ending, using a Guaracha 32 rhythm at 180 bpm
• “Yo no Quiero Piedra en me Camino” – 3 choruses of a 16-bar Tune (as 8|8 bars) with an 8-bar intro’ and a 10-bar ending, using a Guaracha 32 rhythm at 180 bpm
• “Samba For Carmen” – 2 choruses of a user-defined form (as 16|16|8 bars) with an 8-bar intro’ and a 6-bar ending, using a Samba rhythm with both drums and percussion at 190 bpm
• “El Bodeguero” – 3 choruses of 32-bar A1A2 form (as 16|16 bars) with a 4-bar intro’ and an 8-bar ending, using a Cuban Mozambique rhythm at 118 bpm
• “Longina” – 2 choruses of a user-defined form (as 4|13|20 bars) with a 4-bar intro’ and no ending, using a modern slow Merengue rhythm at 112 bpm
• “Lamento Esclavo” – A single choruses of 32-bar A1A2 (as 16|16) with a 4-bar intro’ and a 2-bar ending, using a Tango rhythm at 120 bpm
• “El Guararey de Pastora” – 2 choruses of a user-defined form (as 8|8/10/10 bars) with no intro and an 8-bar ending, using a Songo rhythm at 210 bpm
• “Pare Cochero” – 2 choruses of a user-defined form (as 8|10|8|10/4/4 bars) with no intro’ or ending sections, using a Cha Cha Cha rhythm at 120 bpm
• “Calculadoro” – 2 choruses of a user-defined form (as 20|8/8 bars) with no intro’ or ending sections, using a Cha Cha Cha Latin Jazz rhythm at 135 bpm
• “El arroyo que murmura” – 2 choruses of a user-defined form (as 12|12|6 bars) with no ntro’ or ending sections, using a folk Afro-Cuban 6/8 rhythm at 114 bpm
• “Chucho” – 3 choruses of 24-bar A1A2 form (as 12|12) with a 2-bar intro’ and a 4-bar ending, using a Mambo Latin Jazz rhythm at 190 bpm
• “Guarina” – 3 choruses of 40-bar A1A2 form (as 20|20 bars) with a 2-bar intro’ and no ending, using a modern Afro-Cuban 6/8 rhythm at 114 bpm
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• "Dearly Beloved" - 5 choruses of a 32-bar form of "8|8|8|8" with an 8-bar ending using an older jazz 146 bpm rhythm Song Rhythm Track
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• "Black Orpheus" - 4 choruses of 32-bar A1A2 form with a 4-bar ending using a sophisticated Bossa rhythm at 120 bpm Song Rhythm Track
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• "How High The Moon" - 8-bar intro, 3 choruses of 32-bar A1A2 form (16|16) of a jazz rhythm with brushes and sticks at 100 bpm Song Rhythm Tracks
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• "Take The "A" Train" - 8-bar intro, 5 choruses of 32-bar A1A2 form using an older style jazz rhythm at 146 bpm Song Rhythm Track
• "On Green Dolphin Street" - 12-bar Intro, followed by 3 choruses of a 32-bar "Green Dolphin Street" form (8/8|8/8), followed by an 8-bar ending with a Bossa-then-swing rhythm at 145 b.p.m.
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• Mad Jane playing with The Way You Look Tonight
• Mad Jane messing with messy Autumn Leaves
• Mad Jane Jamming On Blue Monk
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• Mad Jane trying out Fly Me To The Moon