Phasor, shuffle and swing
There's no reason not to. For the OP's specific question, I figure the last item is the "correct" one and should be put first in the answer, with the other details and elaboration as follow up. You might add that for an entire measure of 8th notes that shouldn't be played with sing, it is common to put staff text in that says "straight 8ths" with a dashed line extending as far as the non-switch portion of the music extends.
Just for the record, I am using the last notation, with the staccato mark. It also seems pretty standard, specifically for jazz.
Swing (jazz performance style) - Wikipedia
Laurence Payne Laurence Payne I'm not quite picking up the distinction you're making, Laurence. Of course, the vocal line bends the rhythm a great deal, but the accompaniment seems very precisely in time. Can you elaborate on your "Swing is not triplets" comment? Oh, I see. I thought you were saying it was a swing example. As you say, hard to pin down, but a couple of things I've noticed are a lot of tying a triplet 8th note to the quarter note of the next measure, and switching to duplets for decorative purposes. And especially in faster tempos, the 8th note often robs the quarter note of some of its value especially in solo passages , so it really isn't a triplet any more.
To get these ideas, I had a bit of a listen to this.
Lesson 2: Rhythm, dotted notes, ties, and rests
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Related Lesson 6: Constant versus changing time, adding triplets, and duplets. Glossary of musical terms.
Next lesson. Current timeTotal duration Video transcript - [Instructor] When any of these notes are notated, they create a rhythm. The four quarter notes become a regular rhythm, while if we mix up different note values, we create a less regular rhythm. For example, if we listen to the opening of the Brahm's Academic Festival Overture, we see a variety of note values.
In the first bar, there are eight eighth notes.
Then, in bar two and three, there's a pattern of a quarter note, two eighth notes, a quarter note, and two eighth notes. In the fourth bar, again we have eight eighth notes. In the fifth bar, we have a quarter, two eighths, and two quarters. And in the sixth bar, we have two half notes. Here we have a dot after a half note. Any dot like this adds half the value of the note it follows. If we add a dot to that half note, it will have three beats.
There is a second way that this can be notated. This is by adding a quarter note to the half note and putting a tie above or below it. A half note with a dot is the same as a half note tied to a quarter note. If we look at the middle of the last movement of the Beethoven Fifth Symphony, we see a dotted half note followed by a quarter note in the first bar, and four quarter notes in the second measure.
This pattern repeats numerous times.