ord ▁played ▁with ▁a ▁strong ▁attack , ▁a ▁slight ▁fade , ▁and ▁a ▁quick ▁acc ent ▁at ▁the ▁end , ▁express ing ▁the ▁rh yth mic ▁pul se ▁between ▁be ats . ▁ ▁That ▁device ▁was ▁used ▁inter change ably ▁or ▁in ▁combination ▁with ▁a ▁slight ▁down ward ▁sl ur ▁between ▁the ▁beginning ▁and ▁the ▁end ▁of ▁the ▁note . ▁ ▁Similarly , ▁section ▁arrang ements ▁sometimes ▁used ▁a ▁series ▁of ▁triple ts , ▁either ▁acc ented ▁on ▁the ▁first ▁and ▁third ▁notes ▁or ▁with ▁every ▁other ▁note ▁acc ented ▁to ▁make ▁a ▁ 3 / 2 ▁pattern . ▁ ▁Stra ight ▁e ighth ▁notes ▁were ▁commonly ▁used ▁in ▁sol os , ▁with ▁dynamics ▁and ▁art ic ulation ▁used ▁to ▁express ▁phr asing ▁and ▁swing . ▁ ▁P hr asing ▁dynamics ▁built ▁swing ▁across ▁two ▁or ▁four ▁measures ▁or , ▁in ▁the ▁innov ative ▁style ▁of ▁ten or ▁sa x oph on ist ▁L ester ▁Young , ▁across ▁odd ▁sequences ▁of ▁measures , ▁sometimes ▁starting ▁or ▁stopping ▁without ▁regard ▁to ▁place ▁in ▁the ▁measure . ▁ ▁The ▁rh yth mic ▁devices ▁of ▁the ▁swing ▁era ▁became ▁subt ler ▁with ▁be b op . ▁Bud ▁Pow ell ▁and ▁other ▁piano ▁players ▁influenced ▁by ▁him ▁mostly ▁did ▁away ▁with ▁left - hand ▁rh yth mic ▁figures , ▁replacing ▁them ▁with ▁ch ords . ▁ ▁The ▁ride ▁c ym bal ▁played ▁in ▁a ▁" ting - ti - ting " ▁pattern ▁took ▁the ▁role ▁of ▁the ▁high - hat , ▁the ▁sn are ▁drum ▁was ▁mainly