This dissertation examines, through transcription, analysis, and performance, the use of rhythmic devices by two pivotal contemporary jazz guitarists, John Abercrombie and Gilad Hekselman. An in depth examination of phrasing (Chapter One) and polyrhythm (Chapter Two) are underpinned by transcriptions by the author of Abercrombie's Straight Flight (1979), Hekselman's entire discography as a leader, Splitlife (2006), Words Unspoken (2008), Hearts Wide Open (2011), and This Just In (2013), along with selections of Ari Hoenig's Bert's Playground (2008) (Volume Three: Appendix Seven: pp. 3-231). Interviews with Abercrombie, Hekselman, and Hoenig are also integral to the research (Appendix Five: pp. 135-153). The transcription and analysis culminated in a comprehensive list of various devices relating to phrasing and polyrhythm (Appendix Four: pp. 132-134). This list was used as a practical application guide, including expansions of concepts and personal explorations that are discussed throughout this exegesis. The focal point of this performance based dissertation is four CD recordings (Volume Two), a total of four hours of music, in which the findings of the research are applied: CD1: Retrieval Structure, CD2: Abercrombie and Hekselman Duets, CD3: Perception, and CD4: Disc One: Abercrombie and Hekselman Repertoire/​Disc Two: Ari Hoenig Session. These recordings include performances with Gilad Hekselman, John Abercrombie, and Ari Hoenig, all of whom provided the initial focus of the research in the transcription and analysis phase

Phrasing and polyrhythm in contemporary jazz guitar: a portfolio of recorded performances and exegesis