In this example, we delve into some of the most sophisticated rhythmic variations encountered in this book. Some of the intricacies depicted here are not easily notated with conventional means! We could describe some of it as an expression of personal and regional idiosyncrasies. At some point, it just simply depends on the amount of “swing” the player would be willing to involve in his performance and how much of it will be appropriate to the environment, In New York City dance bands, for example, the use of such rhyth- mic experimentation is (understandably) not greatly appreciated. Most singers, dancers, and even some percussionists could get confused and request a simpler and more “solid” performance from you. Stil, in Latin jazz and in some progressive dance bands, this kind of playing could find an excellent reception! Now let's see how we can open the chords harmonically to create a more complex and dissonant sound, ‘making the right hand play a 10th (in some instances we should add an octave) above the left hand. Further variations in this example retain the harmonic and melodic structure of the pattern. The rhythmic structure is ‘what is slightly modified each time, without changing the basic principle underlying it all—the 2-3 clave, ete. 9 TRACK 29, Hh AA 26