Swing music varies in many ways--one of its most important aspects is that it allows the musicians a great deal of freedom to improvise. The big bands of the Swing Era were characterized by brighter, louder sounds played by large bands, usually of sixteen or more. These bands tended to use musical techniques such as playing sections of music against one another--in counterpoint or musical dialogue--or reiterating one particular phrase of music (called a riff). The melodies, the rhythms, and even the lyrics were often improvised by the musicians and vocalists. However, what consistently identifies swing's sound is its dense, rhythm-driven quality.

Duke Ellington is usually given credit for naming swing and he defines it in his song "It Don't Mean a Thing (if it ain't got that swing)" written in 1932.

Click HERE to listen

Rhythm
Swing rhythm is based on two emphasized subdivisions of the beat which adds a horizontal feel to the music. The stress comes on the first beat and the moment the second third and the third quarter of the beat. Needless to say, this does not follow a regular, steady rhythm.

Imagine a beat subdivided into four parts: 1 e & a 2 e & a 3 e & a 4 e & a

Now add an extra emphasis right before the third quarter of the beat (the "a"): 1 e &-ly-a 2 e &-ly-a . . .

Click to listen to example in "TUXEDO JUNCTION" by Glenn Miller

Click to listen to example in "ON THE SUNNY SIDE OF THE STREET" by Tommy Dorsey

Counterpoint
Counterpoint is two separate melodies played simultaneously so that they fit together musically. Different instruments may be responsible for each melody.

Click to listen to example in "WOODCHOPPER'S BALL" by Woody Herman

Musical Dialogue
Musical dialogue is when two separate melodies played so that they appear to question and answer one another.

Click to listen to example in "LIFE GOES TO A PARTY" by Harry James

Riff
A riff is a musical phrase that is repeated over and over until it becomes almost hypnotic.

Click to listen to example of this in "LET'S JUMP" by Count Basie

Scat Singing
Scat is a vocal style often used in both jazz and swing in which singers improvise nonsense syllables instead of lyrics as part of the melody. Popularized by Louis Armstrong in the late twenties, scat has its roots in West African vocal percussion. Singers often use scat to express their individual style as well as the popular musical styles. During the Swing Era, Cab Calloway, pictured right, composed a number of songs that centered around scat singing.

Listen to scat in "IT DON'T MEAN A THING" by Duke Ellington

Varying Styles
Swing music varies a lot in tempo ranging from very slow, sentimental ballads to faster "hot" swing. Both styles were popular for dancing. Ballrooms tended to play them alternately to give dancers a rest from doing the Lindy Hop to the faster tunes. These variations in style eventually developed into two divisions of swing music: Sweet Bands, which played slower, more old-style music, and Jump Bands, which played the upbeat music that is more often associated with the Swing Era.

Click to hear example of ballad in "MOONLIGHT SERENADE" by Glenn Miller

Click to hear example of jump swing in "SHOUT AND FEEL IT" by Count Basie

Regional music also tended to vary in style. From Kansas City to Chicago and New York, the music took on a flavor unique to its region. Kansas City swing, made famous by Count Basie, was "bluesier" and featured more piano playing, while the northern swing (originated in New York and Chicago) had a brassier sound.

Click to hear example of Kansas City swing in "LET'S JUMP" by Count Baise

Click to hear example of northern swing in "SING SING SING" by Benny Goodman