] [Thread Prev
Re: Maybe why Avante-garde looping in US...
Fascinating stuff, thank you so much for taking the time to type all this.
On 2/3/06, loop.pool <email@example.com> wrote:
> Kevin wrote:
> "You can actually get the hang of odd meter really fast if you don't
> numbers but in syllables, which takes advantage of our speech centers.
> about all European odd meters can be broken down into groups of two and
> beats. For the two beats say "Taki" and for the three beats say
> for two seven beat patterns:
> Taki-Taki-Gamela, Taki-Taki-Gamela,...
> Gamela-Taki-Taki, Gamela-Taki-Taki,...
> personally, I think it is a good idea to keep the syllables more closely
> together (until you are working with
> the onomotopoetic syllables of specific drums in the Indian or other
> I honestly think having tried many different counting systems that you
> trip your tongue up going
> from a T sound to a G sound at very high speed but it's all good.
> Amplifying on this concept a little:
> The Indians use these four subdivision:
> Ta-ki (pronounced Taw kih) TWO
> 1 2
> Ta-ki-ta (pronounced Taw kih tuh) THREE
> 1 2 3
> Ta-ki-di-mi (pronounced Taw kih dee mee) FOUR
> 1 2 3 4
> Ta-ki-di-na-tom (pronounced Taw kih dee nah tom) FIVE
> 1 2 3 4 5
> Interestingly, they stop at the threshold that Western psychologists in
> latter 20th century discovered.: the number 5 .
> From what I've heard, human beings can keep five things in their heads,
> concieved of as separate things but that the minute we get
> to larger numbers we are forced to begin grouping into smaller
> The Indians have known this intrinsically for hundreds of years.
> The emphasis always being on the 'Ta' or first syllable
> In this way you can make a practise matrix of any time signature you
> take on and just sing the syllables
> for example:
> 2 + 2 + 3 or Ta ki Ta ki Ta ki tuh
> 2 + 3 + 2 Ta ki Ta ki ta Ta ki
> 3 + 2 + 2 Ta ki ta Ta ki Ta ki
> 7/8 = 3 + 4 Ta ki ta Ta ki di mi
> 4 + 3 Ta ki di mi Ta ki ta
> 5 + 2 Ta ki di na tom Ta ki
> 2 + 5 Ta ki Ta ki di na tom
> Sing these combinations over and over, making sure that ever syllable
> exactly the same amount of time.
> There are more sophisticated games to play with this material and you can
> syncopate or leave out notes internal to each
> phrasing but this will give you all the basic phrasing possilities of
> odd time signature you want to play in.
> Warning: If you are playing, say the first excercise above as an
> that your whole band is playing..................
> it will really throw people if you use any of the other phrases
> simultaneously so you will need to check it out and
> also practise it with them if you plan on doing it live. One long
> practise or two playing different time signatures against
> each other will usually do the trick to learn how to do this (but you
> to have relatively sophisticated musicians with a good
> internal sense of time and also, more importantly, their willingness to
> along with these games that sound like gibberish
> until you get to know them better.