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Re: Indian syllabic rhythms (was avant-garde thread)
Ar this reminds me of last summer in Zurich. Rick gave us all a great
in rhythms, a very interesting approach which we all enjoyed.
----- Original Message -----
From: "Douglas Baldwin" <firstname.lastname@example.org>
To: "Rick Walker/Loop.pooL" <email@example.com>; "Rick Walker/Loop.pooL"
Sent: Friday, February 03, 2006 5:50 PM
Subject: Indian syllabic rhythms (was avant-garde thread)
>> Awesome post, Rick. It's nice to have such a cogent summary of the
>> system - I'm moving this one into the "Keepers" folder.
> I'll second that! Many of Rick's posts are in my notebooks. If I ever
> publish any, he will get full props!
> BTW, anyone into Sheila Chandra? Her album "The Zen Kiss" has some
> excellent solo compositions built upon rhythmic syllabifications. Also
> Meredith Monk pops into my scrawny little brain at the moment. And on a
> GREAT box set of dumming called "The Big Bang," there's a cut called "A
> Quality of Seven" that has some excellent Indian drumming and occasional
> syllabic counting. I'd LOVE-LOVE-LOVE to have more recordings of Indian
> musicians doing syllabic counting; any recommendations?
> dB, coyote
>> > 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 the
>> > 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 increments.
>> > 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 want to
>> > 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 takes
>> > 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 each
>> > odd time signature you want to play in.
>> > Warning: If you are playing, say the first excercise above
>> > as an ostinato
>> > 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 band
>> > practise or two playing different time signatures against
>> > each other will usually do the trick to learn how to do this
>> > (but you have
>> > to have relatively sophisticated musicians with a good
>> > internal sense of time and also, more importantly, their
>> > willingness to go
>> > along with these games that sound like gibberish
>> > until you get to know them better.